seven discourses on art(艺术七讲座)-第31节
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SEVEN DISCOURSES ON ART
equally removed from nature。
If an European； when he has cut off his beard； and put false hair on his
head； or bound up his own natural hair in regular hard knots； as unlike
nature as he can possibly make it； and having rendered them immovable
by the help of the fat of hogs； has covered the whole with flour； laid on by
a machine with the utmost regularity； if； when thus attired he issues forth；
he meets a Cherokee Indian； who has bestowed as much time at his toilet；
and laid on with equal care and attention his yellow and red ochre on
particular parts of his forehead or cheeks； as he judges most becoming；
whoever despises the other for this attention to the fashion of his country；
whichever of these two first feels himself provoked to laugh； is the
barbarian。
All these fashions are very innocent； neither worth disquisition； nor
any endeavour to alter them； as the change would； in all probability； be
equally distant from nature。 The only circumstances against which
indignation may reasonably be moved； are where the operation is painful
or destructive of health； such as is practised at Otahaiti； and the straight
lacing of the English ladies； of the last of which； how destructive it must
be to health and long life； the professor of anatomy took an opportunity of
proving a few days since in this Academy。
It is in dress as in things of greater consequence。 Fashions originate
from those only who have the high and powerful advantages of rank； birth；
and fortune； as many of the ornaments of art； those at least for which no
reason can be given； are transmitted to us； are adopted； and acquire their
consequence from the company in which we have been used to see them。
As Greece and Rome are the fountains from whence have flowed all kinds
of excellence； to that veneration which they have a right to claim for the
pleasure and knowledge which they have afforded us； we voluntarily add
our approbation of every ornament and every custom that belonged to
them； even to the fashion of their dress。 For it may be observed that； not
satisfied with them in their own place； we make no difficulty of dressing
statues of modern heroes or senators in the fashion of the Roman armour
or peaceful robe； we go so far as hardly to bear a statue in any other
drapery。
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The figures of the great men of those nations have come down to us in
sculpture。 In sculpture remain almost all the excellent specimens of
ancient art。 We have so far associated personal dignity to the persons
thus represented； and the truth of art to their manner of representation； that
it is not in our power any longer to separate them。 This is not so in
painting； because； having no excellent ancient portraits； that connection
was never formed。 Indeed； we could no more venture to paint a general
officer in a Roman military habit； than we could make a statue in the
present uniform。 But since we have no ancient portraits； to show how
ready we are to adopt those kind of prejudices； we make the best authority
among the moderns serve the same purpose。 The great variety of
excellent portraits with which Vandyke has enriched this nation； we are
not content to admire for their real excellence； but extend our approbation
even to the dress which happened to be the fashion of that age。 We all
very well remember how common it was a few years ago for portraits to
be drawn in this Gothic dress； and this custom is not yet entirely laid aside。
By this means it must be acknowledged very ordinary pictures acquired
something of the air and effect of the works of Vandyke； and appeared
therefore at first sight to be better pictures than they really were； they
appeared so； however； to those only who had the means of making this
association； for when made； it was irresistible。 But this association is
nature； and refers to that Secondary truth that comes from conformity to
general prejudice and opinion； it is therefore not merely fantastical。
Besides the prejudice which we have in favour of ancient dresses； there
may be likewise other reasons； amongst which we may justly rank the
simplicity of them； consisting of little more than one single piece of
drapery； without those whimsical capricious forms by which all other
dresses are embarrassed。
Thus； though it is from the prejudice we have in favour of the ancients；
who have taught us architecture； that we have adopted likewise their
ornaments； and though we are satisfied that neither nature nor reason is the
foundation of those beauties which we imagine we see in that art； yet if
any one persuaded of this truth should； therefore； invent new orders of
equal beauty； which we will suppose to be possible； yet they would not
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SEVEN DISCOURSES ON ART
please； nor ought he to complain； since the old has that great advantage of
having custom and prejudice on its side。 In this case we leave what has
every prejudice in its favour to take that which will have no advantage
over what we have left； but novelty； which soon destroys itself； and； at any
rate； is but a weak antagonist against custom。
These ornaments； having the right of possession； ought not to be
removed but to make room for not only what has higher pretensions； but
such pretensions as will balance the evil and confusion which innovation
always brings with it。
To this we may add； even the durability of the materials will often
contribute to give a superiority to one object over another。 Ornaments in
buildings； with which taste is principally concerned； are composed of
materials which last longer than those of which dress is composed； it；
therefore； makes higher pretensions to our favour and prejudice。
Some attention is surely required to what we can no more get rid of
than we can go out of ourselves。 We are creatures of prejudice； we
neither can nor ought to eradicate it； we must only regulate； it by reason；
which regulation by reason is； indeed； little more than obliging the lesser；
the focal and temporary prejudices； to give way to those which are more
durable and lasting。
He； therefore； who in his practice of portrait painting wishes to dignify
his subject； which we will suppose to be a lady； will not paint her in the
modern dress； the familiarity of which alone is sufficient to destroy all
dignity。 He takes care that his work shall correspond to those ideas and
that imagination which he knows will regulate the judgment of others； and；
therefore； dresses his figure something with the general air of the antique
for the sake of dignity； and preserves something of the modern for the sake
of likeness。 By this conduct his works correspond with those prejudices
which we have in favour of what we continually see； and the relish of the
antique simplicity corresponds with what we may call the； more learned
and scientific prejudice。
There was a statue made not long since of Voltaire； which the sculptor；
not having that respect for the prejudices of mankind which he ought to
have； has made entirely naked； and as meagre and emaciated as the
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original is said to be。 The consequence is what might be expected； it has
remained in the sculptor's shop； though it was intended as a public
ornament and a public honour to Voltaire； as it was procured at the
expense of his cotemporary wits and admirers。
Whoever would reform a nation； supposing a bad taste to prevail in it
