Part 3

Thus does the sculptor of the Renaissance get beauty, visible beauty, not psychologic interest, out of a plain human being; but the beauty (and this is the distinguishing point of what I must call realistic decorative art) does not exist necessarily in the plain human being: he merely affords the beginning of a pattern which the artist may be able to carry out. A person may have in him the making of a really beautiful bust and yet be ugly; just as the same person may afford a subject for a splendid painting and for an execrable piece of sculpture. The wrinkles and creases in a face like that of Benedetto da Maiano's Mellini would probably be ugly and perhaps disgusting in the real reddish, flaccid, discoloured flesh; while they are admirable in the solid and supple-looking marble, in its warm and delicate bistre and yellow. Material has an extraordinary effect upon form; colour, though not a positive element in sculpture, has immense negative power in accentuating or obliterating the mere line. All form becomes vague and soft in the dairy flaccidness of modern ivory; and clear and powerful in the dark terra cotta, which can ennoble even the fattest and flattest faces with its wonderful faculty for making mere surface markings, mere crowsfeet, interesting. Thus also with bronze: the polished, worked bronze, of fine chocolate burnish and reddish reflections, mars all beauty of line; how different the unchased, merely rough cast, greenish, with infinite delicate greys and browns, making, for instance, the head of an old woman like an exquisite withered, shrivelled, veined autumnal leaf. It is moreover, as I have said, a question of combination of surface and light, this art which makes beautiful busts of ugly men. The ideal statue of the Greeks intended for the open air; fit to be looked at under any light, high or low, brilliant or veiled, had indeed to be prepared to look well under any light; but to look well under any light means not to use any one particular relation of light as an ally; the surface was kept modestly subordinated to the features, the features which must needs look well at all moments and from all points of view. But the Renaissance sculptor knew where his work would be placed; he could calculate the effect of the light falling invariably through this or that window; he could make a fellow-workman of that light, present for it to draw or to obliterate what features he liked, bid it sweep away such or such surfaces with a broad stream, cut them with a deep shadow, caress their smooth chiselling or their rough grainings, mark as with a nail the few large strokes of the point which gave the firmness to the strained muscle or stretched skin. Out of this model of his, this plain old burgess, he and his docile friend the light, could make quite a new thing; a new pattern of bosses and cavities, of smooth sweeps and tracked lines, of creases and folds of flesh, of pliable linen and rough brocade of dress: something new, something which, without a single feature being straightened or shortened, yet changed completely the value of the whole assemblage of features; something undreamed of by nature in moulding that ugly old merchant or humanist. With this art which produced works like Desiderio da Settignano's Carlo Marsuppini and Benedetto da Maiano's Pietro Mellini, is intimately connected the art of the great medallists of the Renaissance--Pasti, Guacialotti, Niccolò Fiorentino, and, greatest of all, Pisanello. Its excellence depends precisely upon its independence of the ideal work of Antiquity; nay, even upon the fact that, while the ancients, striking their coins in chased metal dies, obtained an astonishing minuteness and clearness of every separate little stroke and dint, and were therefore forced into an almost more than sculptural perfection of mere line, of mere profile and throat and elaborately composed hair, a sort of sublime abstraction of the possible beauty of a human face, as in the coins of Syracuse and also of Alexander; the men of the fifteenth century employed the process of casting the bronze in a concave mould obtained by the melting away of a medallion in wax; in wax, which taking the living impress of the artist's finger, and recalling in its firm and yet soft texture the real substance of the human face, insensibly led the medallist to seek, not sharp and abstract lines, but simple, strongly moulded bosses; not ideal beauty, but the real appearance of life. It is, moreover, a significant fact that while the men who, half a century or so later, made fine, characterless die-stamped medals in imitation of the antique, Caradossi and Benvenuto for instance, were goldsmiths and sculptors, workers with the chisel, artists seeking essentially for abstract elegance of line; the two greatest medallists of the early Renaissance, Vittore Pisano and Matteo di Pasti, were both of them painters; and painters of the Northern Italian school, to whom colour and texture were all important, and linear form a matter of indifference. And indeed, if we look at the best work of what I may call the wax mould medallists of the fifteenth century, even at the magnificent marble medallions of the laurel-wreathed head of Sigismund Malatesta on the pillars of his church at Rimini, modelled by Pasti, we shall see that these men were preoccupied almost exclusively with the almost pictorial effect of the flesh in its various degrees of boss and of reaction of the light; and that the character, the beauty even, which they attained, is essentially due to a skilful manipulation of texture, and surface, and light--one might almost say of colour. We all know Pisanello's famous heads of the Malatesti of Rimini: the saturnine Sigismund, the delicate dapper Novello, the powerful yet beautiful Isotta; but there are other Renaissance medals which illustrate my meaning even better, and connect my feelings on the subject of this branch of art more clearly with my feelings towards such work as Benedetto's Pietro Mellini. Foremost among these is the perhaps somewhat imperfect and decidedly grotesque, but astonishingly powerful, naïf and characteristic Lorenzo dei Medici by Niccolò real grandeur of whose conception of this coarse yet imaginative head may be profitably contrasted with the classicizing efforts after the demi-god or successor of Alexander in Pollaiolo's famous medal of the Pazzi conspiracy. Next to this I would place a medal by Guacialotti of Bishop Niccolò Palmieri, with the motto, "Nudus egressus sic redibo"--singularly appropriate to the shameless fleshliness of the personage, with his naked fat chest and shoulders, his fat, pig-like cheeks and greasy-looking bald head; a hideous beast, yet magnificent in his bestiality like some huge fattened porker. These medals give us, as does the bust of Pietro Mellini, beauty of the portrait despite ugliness of the original. But there are two other medals, this time by Pisanello, and, as it seems to me, perhaps his masterpieces, which show the quite peculiar way in which this homely charm of portraiture amalgamates, so as to form a homogeneous and most seemingly simple whole, with the homely charm of certain kinds of pure and simple youthful types. One of these (the reverse of which fantastically represents the four elements, the wooded earth, the starry sky, the rippled sea, the sun, all in one sphere) is the portrait of Don Inigo d'Avalos; the other that of Cecilia Gonzaga. This slender beardless boy in the Spanish shovel hat and wisp of scarf twisted round the throat; and this tall, long-necked girl, with sloping shoulders and still half-developed bosom; are, so to speak, brother and sister in art, in Pisanello's wonderful genius. The relief of the two medals is extremely low, so that in certain lights the effigies vanish almost completely, sink into the pale green surface of the bronze; the portraits are a mere film, a sort of haze which has arisen on the bronze and gathered into human likeness; but in this film, this scarce perceptible relief, we are made to perceive the slender osseous structure, the smooth, sleek, childish blond flesh and hair, the delicate, undecided pallor of extreme youth and purity, even as we might in some elaborate portrait by Velasquez, but with a spring-like healthiness which Velasquez, painting his lymphatic Hapsburgs, rarely has.

Such is this Renaissance art of medals, this side branch of the great realistic portraiture in stone of the Benedettos, Desiderios, and Rossellinos; a perfect thing in itself; and one which, if we muse over it in connection with the more important works of fifteenth century sculpture, will perhaps lead us to think that, as the sculpture of Antiquity, in its superb idealism, its devotion to the perfect line and curve of beauty, achieved the highest that mere colourless art can achieve--thanks to the very purity, sternness, and narrowness of its sculpturesque feeling--so also, perhaps, modern sculpture, should it ever re-arise, must be a continuation of the tendencies of the Renaissance, must be the humbler sister of painting, must seek for the realistic portrait and begin, perhaps, with the realistic medal.

II.

This kind of realism, where only the model is ugly, while the portrait is beautiful; which seeks decorative value by other means than the intrinsic excellence of form in the object represented, this kind of realism is quite different in sort from the realisms of immature art, which, aiming at nothing beyond a faithful copy, is content with producing an ugly picture of an ugly thing. Now this latter kind of realism endured in painting some time after decorative realism such as I have described had reached perfection in sculpture. Nor was it till later, and when the crude scholastic realism had completely come to an end, that there became even partially possible in painting decorative realism analogous to what we have noticed in sculpture; while it was not till after the close of the Italian Renaissance period that the painters arose in Spain and the Netherlands who were able to treat their subjects with the uncompromising decorative realism of Desiderio or Rosellino or Benedetto da Maiano. For the purely imitative realism of the painters of the early Renaissance was succeeded in Italy by idealism, which matured in the great art of intrinsically beautiful linear form of Michael Angelo and Raphael, and the great art of intrinsically beautiful colour form of Giorgione and Titian. These two schools were bound to be, each in its degree, idealistic. Complete power of mere representation in tint and colour having been obtained through the realistic drudgery of the early Renaissance, selection in the objects thus to be represented had naturally arisen; and the study of the antique had further hastened and directed this movement of art no longer to study but to achieve, to be decorative once more, decorative no longer in subservience to architecture, but as the separate and self-sufficing art of painting. Selection, therefore, which is the only practical kind of idealism, had begun as soon as painting was possessed of the power of representing objects in their relations of line and colour, with that amount of light and shadow requisite to the just appreciation of the relations of form and the just relations of colour. Now art which stops short at this point of representation must inevitably be, if decorative at all, idealistically decorative; it must be squeamish respecting the objects represented, respecting their real structure, colour, position, and grouping. For, of the visible impressions received from an object, some are far more intrinsic than others. Suppose we see a woman, beautiful in the structure of her body, and beautiful in the colour of her person and her draperies, standing under a light which is such as we should call beautiful and interesting: of these three qualities one will be intrinsic in the woman, the second very considerably so, the third not at all. For, let us call that woman away and replace her immediately by another woman chosen at random. We shall immediately perceive that we have lost one pleasurable impression, that of beautiful bodily structure: the woman has taken away her well-shapen body. Next we shall perceive a notable diminution in the second pleasurable impression: the woman has taken with her, not indeed her well-tinted garments, which we may have bestowed on her successor, but her beautifully coloured skin and hair, so that of the pleasing colour-impression will remain only as much as was due to, and may have been retained with, the original woman's clothes. But if we look for our third pleasurable impression, our beautiful light, we shall find that unchanged, whether it fall upon a magnificently arrayed goddess or upon a sordid slut And, conversely, the beautiful woman, when withdrawn from that light and placed in any other, will be equally lovely in form, even if we cast her in plaster, and lose the colour of her skin and hair; or if we leave her not only the beautiful tints of her flesh and hair, but her own splendidly coloured garments, we shall still have, in whatsoever light, a magnificent piece of colour. But if we recall the poor ugly creature who has succeeded her from out of that fine effect of light, we shall have nothing but a hideous form invested in hideous colour.

This rough diagram will be sufficient to explain my thought respecting the relative degree to which the art dealing with linear form, that dealing with colour and that dealing with light, with the medium in which form and colour are perceived; is each respectively bound to be idealistically or realistically decorative. Now painting was æsthetically mature, possessed the means to achieve great beauty, at a time when of the three modes of representation there had as yet developed only those of linear form and colour; and the very possibility and necessity of immediately achieving all that could be achieved by these means delayed for a long time the development of the third mode of representation: the representation of objects as they appear with reference to the light through which they are seen. A beginning had indeed been made. Certain of Correggio's effects of light, even more an occasional manner of treating the flesh and hair, reducing both form and colour to a kind of vague boss and vague sheen, such as they really present in given effects of light, a something which we define roughly as eminently modern in the painting of his clustered cherubs; all this is certainly a beginning of the school of Velasquez. Still more so is it the case with Andrea del Sarto, the man of genius whom critics love to despatch as a mediocrity, because his art, which is art altogether for the eyes, and in which he innovated more than any of his contemporaries, does not afford any excuse for the irrelevancies of ornamental criticism; with him the appearance of form and colour, acted upon by light, the relative values of which flesh and draperies consist with reference to the surrounding medium, all this becomes so evident a preoccupation and a basis for decorative effects, as to give certain of his works an almost startling air of being modern. But this tendency comes to nothing: the men of the sixteenth century appear scarcely to have perceived wherein lay the true excellence of this "Andrea senza errori," deeming him essentially the artist of linear perfection; while the innovations of Correggio in the way of showing the relations of flesh tones and light ended in the mere coarse gala illuminations in which his successors made their seraphs plunge and sprawl. There was too much to be done, good and bad, in the way of mere linear form and mere colour; and as art of mere linear form and colour, indifferent of all else, did the art of the Italian Renaissance run to seed.

I said at the beginning of this paper that the degree to which any art is strictly idealistic, can be measured by the terms which it will make with portrait. For as portrait is due to the desire to represent a person quite apart from that person affording material for decoration, it is evident that only the art which can call in the assistance of decorative materials, independent of the represented individual, can possibly make a beautiful picture out of an ugly man; while the art which deals only with such visible peculiarities as are inherent in the individual, has no kind of outlet, is cornered, and can make of a repulsive original only a repulsive picture. The analogy to this we have already noticed in sculpture: antique sculpture, considering only the linear bosses which existed equally in the living man and in the statue, could not afford to represent plain people; while Renaissance sculpture, extracting a large amount of beauty out of combinations of surface and light, was able, as long as it could arrange such an artificial combination, to dispense with great perfection in the model. Nay, if we except Renaissance statuary as a kind of separate art, we may say that this independence of the object portrayed is a kind of analytic test, enabling us to judge at a glance, and by the degree of independence from the model, the degree to which any art is removed from the mere line and boss of antique sculpture. In the statue standing free in any light that may chance to come, every form must be beautiful from every point; but in proportion as the new elements of painting enter, in proportion as the actual linear form and boss is marked and helped out by grouping, colour, and light and shade, does the actual perfection of the model become less important; until, under the reign of light as the chief factor, it becomes altogether indifferent. In this fact lies the only rational foundation for the notion, made popular by Hegel, that painting is an art in which beauty is of much less account than in sculpture; failing to understand that the sum total of beauty remained the same, whether dependent upon the concentration of a single element or obtained by the co-operation of several consequently less singly important elements.

But to return to the question of portrait art. From what we have seen, it is clear that art which requires perfection of form will be reduced to ugliness if cramped in the obtaining of such perfection, whereas art which can obtain beauty by other means will still have a chance when reduced to imitate ugly object? Hence it is that while the realistically decorative art of the seventeenth century can make actually beautiful things of the portraits of ugly people, the idealistically decorative art of the Renaissance produces portraits which are cruelly ugly in proportion as the art is purely idealistic. Yet even in idealism there are degrees: the more the art is confined to mere linear form, to the exclusion of colour, the uglier will be the portraits. With Michael Angelo the difficulty was simplified to impossibility: he could not paint portrait at all; and in his sculptured portraits of the two Medicean dukes at S. Lorenzo he evaded all attempt at likeness, making those two men into scarcely more than two architectural monsters, half-human cousins of the fantastic creatures who keep watch on the belfries and gurgoyles of a Gothic cathedral. It is almost impossible to think of Michael Angelo attempting portrait: the man's genius cannot be constrained to it, and what ought to be mere ugliness would come out idealized into grandiose monstrosity. Men like Titian and Tintoret are at the other end of the scale of ideal decoration: they are bordering upon the domain of realism. Hence they can raise into interest, by the mere power of colour, many an insignificant type; yet even they are incapable of dealing with absolute ugliness, with absence of fine colour, or, if they do deal with it, there is an immediate improvement upon the model, and the appearance of truthfulness goes. Between the absolute incapacity for dealing with ugliness of Michael Angelo, and the power of compromising with it of Titian and Tintoret, Raphael stands half-way: he can call in the assistance of colour just sufficiently to create a setting of carefully harmonized draperies and accessories, beautiful enough to allow of his filling it up with the most cruelly ugly likeness which any painter ever painted. Far too much has been written about Raphael in general, but not half enough about Raphael as a portrait-painter; for by the side of the eclectic idealist, who combined and balanced beauty almost into insipidity, is the most terribly, inflexibly veracious portrait-painter that ever was. Compared with those sternly straightforward portraits of his Florentine and Roman time, where ugliness and baseness are never attenuated by one tittle, and alloyed nobility or amiability, as with his finer models, like the two Donis, husband and wife, and Bibbiena, is never purified of its troubling element; compared with them the Venetian portraits are mere insincere, enormously idealized pieces of colour-harmony; nay, the portraits of Velasquez are mere hints--given rapidly by a sickened painter striving to make those scrofulous Hapsburgs no longer mere men, but keynotes of harmonies of light--of what the people really are. For Velasquez seems to show us the temperament, the potentiality of his people, and to leave us, with a kind of dignified and melancholy silence as to all further, to find out what life, what feelings and actions, such a temperament implies. But Raphael shows us all: the temperament and the character, the real active creature, with all the marks of his present temper and habits, with all the indications of his immediate actions upon him: completely without humour or bitterness, without the smallest tendency to twist the reality into caricature or monstrosity, nay, perhaps without much psychologic analysis to tell him the exact meaning of what he is painting, going straight to the point, and utterly ruthless from sheer absence of all alternative of doing otherwise than he does. There is nothing more cruelly realistic in the world, cruel not only to the base originals but to the feelings of the spectator, than the harmony of villainies, of various combinations of black and hog-like bestiality, and fox and wolf-like cunning and ferocity with wicked human thought and self-command, which Raphael has enshrined in that splendid harmony of scarlet silk and crimson satin, and purple velvet and dull white brocade, as the portraits of Leo X. and his cardinals Rossi and Dei Medici.