seven discourses on art(艺术七讲座)-第23节
按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
and their last。
I will mention a few that occur to me of this narrow； confined； illiberal；
unscientific； and servile kind of imitators。 Guido was thus meanly
copied by Elizabetta Sirani； and Simone Cantarini； Poussin； by Verdier
and Cheron； Parmigiano； by Jeronimo Mazzuoli； Paolo Veronese and
Iacomo Bassan had for their imitators their brothers and sons； Pietro de
Cortona was followed by Ciro Ferri and Romanelli； Rubens； by Jacques
Jordans and Diepenbeck； Guercino； by his own family； the Gennari； Carlo
Marratti was imitated by Giuseppe Chiari and Pietro da Pietri； and
Rembrandt； by Bramer； Eckhout； and Flink。 All these； to whom may be
added a much longer list of painters； whose works among the ignorant
pass for those of their masters； are justly to be censured for barrenness and
servility。
To oppose to this list a few that have adopted a more liberal style of
imitation： Pelegrino Tibaldi； Rosso； and Primaticio did not coldly imitate；
but caught something of the fire that animates the works of Michael
Angelo。 The Carraches formed their style from Pelegrino Tibaldi；
Correggio； and the Venetian School。 Domenichino； Guido； Lanfranco；
Albano； Guercino； Cavidone； Schidone； Tiarini； though it is sufficiently
apparent that they came from the School of the Carraches； have yet the
appearance of men who extended their views beyond the model that lay
before them； and have shown that they had opinions of their own； and
thought for themselves； after they had made themselves masters of the
general principles of their schools。
Le Seure's first manner resembles very much that of his master Vovet：
but as he soon excelled him； so he differed from him in every part of the
art。 Carlo Marratti succeeded better than those I have first named； and I
think owes his superiority to the extension of his views； besides his master
Andrea Sacchi； he imitated Raffaelle； Guido； and the Carraches。 It is true；
there is nothing very captivating in Carlo Marratti； but this proceeded
from wants which cannot be completely supplied； that is； want of strength
of parts。 In this； certainly men are not equal； and a man can bring home
76
… Page 77…
SEVEN DISCOURSES ON ART
wares only in proportion to the capital with which he goes to market。
Carlo； by diligence； made the most of what he had； but there was
undoubtedly a heaviness about him； which extended itself； uniformly to
his invention； expression； his drawing； colouring； and the general effect of
his pictures。 The truth is； he never equalled any of his patterns in any
one thing； and he added little of his own。
But we must not rest contented； even in this general study of the
moderns； we must trace back the art to its fountain head； to that source
from whence they drew their principal excellences； the monuments of pure
antiquity。
All the inventions and thoughts of the ancients； whether conveyed to
us in statues； bas…reliefs； intaglios； cameos； or coins； are to be sought after
and carefully studied： The genius that hovers over these venerable relics
may be called the father of modern art。
From the remains of the works of the ancients the modern arts were
revived； and it is by their means that they must be restored a second time。
However it may mortify our vanity； we must be forced to allow them our
masters； and we may venture to prophecy； that when they shall cease to be
studied； arts will no longer flourish； and we shall again relapse into
barbarism。
The fire of the artist's own genius operating upon these materials
which have been thus diligently collected； will enable him to make new
combinations； perhaps； superior to what had ever before been in the
possession of the art。 As in the mixture of the variety of metals； which
are said to have been melted and run together at the burning of Corinth； a
new and till then unknown metal was produced equal in value to any of
those that had contributed to its composition。 And though a curious
refiner may come with his crucibles； analyse and separate its various
component parts； yet Corinthian brass would still hold its rank amongst
the most beautiful and valuable of metals。
We have hitherto considered the advantages of imitation as it tends to
form the taste； and as a practice by which a spark of that genius may be
caught which illumines these noble works； that ought always to be present
to our thoughts。
77
… Page 78…
SEVEN DISCOURSES ON ART
We come now to speak of another kind of imitation； the borrowing a
particular thought； an action； attitude； or figure； and transplanting it into
your own work： this will either come under the charge of plagiarism； or
be warrantable； and deserve commendation； according to the address with
which it is performed。 There is some difference likewise whether it is upon
the ancients or the moderns that these depredations are made。 It is
generally allowed that no man need be ashamed of copying the ancients：
their works are considered as a magazine of common property； always
open to the public； whence every man has a right to what materials he
pleases； and if he has the art of using them； they are supposed to become
to all intents and purposes his own property。
The collection which Raffaelle made of the thoughts of the ancients
with so much trouble； is a proof of his opinion on this subject。 Such
collections may be made with much more ease； by means of an art scarce
known in his time； I mean that of engraving； by which； at an easy rate；
every man may now avail himself of the inventions of antiquity。
It must be acknowledged that the works of the moderns are more the
property of their authors； he who borrows an idea from an artist； or
perhaps from a modern； not his contemporary； and so accommodates it to
his own work that it makes a part of it； with no seam or joining appearing；
can hardly be charged with plagiarism； poets practise this kind of
borrowing without reserve。 But an artist should not be contented with
this only； he should enter into a competition with his original； and
endeavour to improve what he is appropriating to his own work。 Such
imitation is so far from having anything in it of the servility of plagiarism；
that it is a perpetual exercise of the mind； a continual invention。
Borrowing or stealing with such art and caution will have a right to the
same lenity as was used by the Lacedemonians； who did not punish theft；
but the want of artifice to conceal it。
In order to encourage you to imitation； to the utmost extent； let me add；
that very finished artists in the inferior branches of the art will contribute
to furnish the mind and give hints of which a skilful painter； who is
sensible of what he wants； and is in no danger of being infected by the
contact of vicious models； will know how to avail himself。 He will pick
78
… Page 79…
SEVEN DISCOURSES ON ART
up from dunghills what by a nice chemistry； passing through his own mind；
shall be converted into pure gold； and； under the rudeness of Gothic essays；
he will find original； rational； and even sublime inventions。
In the luxuriant style of Paul Veronese； in the capricious compositions
of Tintoret； he will find something that will assist his invention； and give
points； from which his own imagination shall rise and take flight； when the
subject which he treats will； with propriety； admit of splendid effects。
In every school； whether Venetian； French； or Dutch； he will find
either ingenious compositions； extraordinary effects； some peculiar
expressions； or some mechanical excellence； w
