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！
but in its proper place。 That which is most worthy of esteem in its
allotted sphere becomes an object； not of respect； but of derision； when it
is forced into a higher； to which it is not suited； and there it becomes
doubly a source of disorder； by occupying a situation which is not natural
to it； and by putting down from the first place what is in reality of too
much magnitude to become with grace and proportion that subordinate
station； to which something of less value would be much better suited。
My advice in a word is this： keep your principal attention fixed upon
the higher excellences。 If you compass them and compass nothing more；
you are still in the first class。 We may regret the innumerable beauties
which you may want： you may be very imperfect： but still； you are an
imperfect person of the highest order。
If； when you have got thus far； you can add any； or all； of the
subordinate qualifications； it is my wish and advice that you should not
neglect them。
But this is as much a matter of circumspection and caution at least as
of eagerness and pursuit。
The mind is apt to be distracted by a multiplicity of pursuits； and that
scale of perfection； which I wish always to be preserved； is in the greatest
danger of being totally disordered； and even inverted。
Some excellences bear to be united； and are improved by union； others
are of a discordant nature； and the attempt to join them only produces a
harsher jarring of incongruent principles。
52
… Page 53…
SEVEN DISCOURSES ON ART
The attempt to unite contrary excellences （of form； for instance） in a
single figure； can never escape degenerating into the monstrous； but by
sinking into the insipid； taking away its marked character； and weakening
its expression。
This remark is true to a certain degree with regard to the passions。 If
you mean to preserve the most perfect beauty in its most perfect state； you
cannot express the passions； which produce （all of them） distortion and
deformity； more or less； in the most beautiful faces。
Guido； from want of choice in adapting his subject to his ideas and his
powers； or in attempting to preserve beauty where it could not be
preserved has in this respect succeeded very ill。 His figures are often
engaged in subjects that required great expression： yet his 〃Judith and
Holofernes；〃 the 〃Daughter of Herodias with the Baptist's Head；〃 the
〃Andromeda；〃 and even the 〃Mothers of the Innocents；〃 have little more
expression than his 〃Venus attired by the Graces。〃
Obvious as these remarks appear； there are many writers on our art；
who； not being of the profession； and consequently not knowing what can
or what cannot be done； have been very liberal of absurd praises in their
descriptions of favourite works。 They always find in them what they are
resolved to find。 They praise excellences that can hardly exist together；
and above all things are fond of describing with great exactness the
expression of a mixed passion； which more particularly appears to me out
of the reach of our art。
Such are many disquisitions which I have read on some of the cartoons
and other pictures of Raffaelle； where the critics have described their own
imagination； or indeed where the excellent master himself may have
attempted this expression of passions above the powers of the art； and has；
therefore； by an indistinct and imperfect marking； left room for every
imagination； with equal probability to find a passion of his own。 What
has been； and what can be done in the art； is sufficiently difficult； we need
not be mortified or discouraged for not being able to execute the
conceptions of a romantic imagination。 Art has its boundaries； though
imagination has none。 We can easily； like the ancients； suppose a Jupiter
to be possessed of all those powers and perfections which the subordinate
53
… Page 54…
SEVEN DISCOURSES ON ART
Deities were endowed with separately。 Yet； when they employed their art
to represent him； they confined his character to majesty alone。 Pliny；
therefore； though we are under great obligations to him for the information
he has given us in relation to the works of the ancient artists； is very
frequently wrong when he speaks of them； which he does very often in the
style of many of our modern connoisseurs。 He observes that in a statue
of Paris； by Fuphranor； you might discover at the same time three different
characters； the dignity of a judge of the goddesses； the lover of Helen； and
the conqueror of Achilles。 A statue in which you endeavour to unite
stately dignity； youthful elegance； and stern valour； must surely possess
none of these to any eminent degree。
From hence it appears that there is much difficulty as well as danger in
an endeavour to concentrate upon a single subject those various powers
which； rising from different points； naturally move in different directions。
The summit of excellence seems to be an assemblage of contrary
qualities； but mixed； in such proportions； that no one part is found to
counteract the other。 How hard this is to be attained in every art； those
only know who have made the greatest progress in their respective
professions。
To conclude what I have to say on this part of the subject； which I
think of great importance； I wish you to understand that I do not
discourage the younger students from the noble attempt of uniting all the
excellences of art； but to make them aware that； besides the difficulties
which attend every arduous attempt； there is a peculiar difficulty in the
choice of the excellences which ought to be united； I wish you to attend to
this； that you may try yourselves； whenever you are capable of that trial；
what you can； and what you cannot do： and that； instead of dissipating
your natural faculties over the immense field of possible excellence； you