Part 21 (1/2)

Play with them, or love them, or fear them, or wors.h.i.+p them. The cat may become the G.o.ddess Pasht, and the mouse, in the hand of the sculptured king, enforce his enduring words ”[Greek: es eme tis oreon eusebes esto];” but the great mimetic instinct underlies all such purpose; and is zooplastic,--life-shaping,--alike in the reverent and the impious.

30. Is, I say, and has been, hitherto; none of us dare say that it will be. I shall have to show you hereafter that the greater part of the technic energy of men, as yet, has indicated a kind of childhood; and that the race becomes, if not more wise, at least more manly,[113] with every gained century. I can fancy that all this sculpturing and painting of ours may be looked back upon, in some distant time, as a kind of doll-making, and that the words of Sir Isaac Newton may be smiled at no more: only it will not be for stars that we desert our stone dolls, but for men. When the day comes, as come it must, in which we no more deface and defile G.o.d's image in living clay, I am not sure that we shall any of us care so much for the images made of Him, in burnt clay.

31. But, hitherto, the energy of growth in any people may be almost directly measured by their pa.s.sion for imitative art; namely, for sculpture, or for the drama, which is living and speaking sculpture, or, as in Greece, for both; and in national as in actual childhood, it is not merely the _making_, but the _making-believe_; not merely the acting for the sake of the scene, but acting for the sake of acting, that is delightful. And, of the two mimetic arts, the drama, being more pa.s.sionate, and involving conditions of greater excitement and luxury, is usually in its excellence the sign of culminating strength in the people; while fine sculpture, requiring always submission to severe law, is an unfailing proof of their being in early and active progress.

_There is no instance of fine sculpture being produced by a nation either torpid, weak, or in decadence._ Their drama may gain in grace and wit; but their sculpture, in days of decline, is _always_ base.

32. If my little lady in the kitchen had been put in command of colours, as well as of dough, and if the paste would have taken the colours, we may be sure her mice would have been painted brown, and her cats tortoise-sh.e.l.l; and this, partly indeed for the added delight and prettiness of colour itself, but more for the sake of absolute realization to her eyes and mind. Now all the early sculpture of the most accomplished nations has been thus coloured, rudely or finely; and, therefore, you see at once how necessary it is that we should keep the term ”graphic” for imitative art generally; since no separation can at first be made between carving and painting, with reference to the mental powers exerted in, or addressed by, them. In the earliest known art of the world, a reindeer hunt may be scratched in outline on the flat side of a clean-picked bone, and a reindeer's head carved out of the end of it; both these are flint-knife work, and, strictly speaking, sculpture: but the scratched outline is the beginning of drawing, and the carved head of sculpture proper. When the s.p.a.ces enclosed by the scratched outline are filled with colour, the colouring soon becomes a princ.i.p.al means of effect; so that, in the engraving of an Egyptian-colour bas-relief (S. 101), Rosellini has been content to miss the outlining incisions altogether, and represent it as a painting only. Its proper definition is, ”painting accented by sculpture;” on the other hand, in solid coloured statues,--Dresden china figures, for example,--we have pretty sculpture accented by painting; the mental purpose in both kinds of art being to obtain the utmost degree of realization possible, and the ocular impression being the same, whether the delineation is obtained by engraving or painting. For, as I pointed out to you in my fifth lecture, everything is seen by the eye as patches of colour, and of colour only; a fact which the Greeks knew well; so that when it becomes a question in the dialogue of Minos, ”[Greek: tini onti te opsei horatai ta hoomena],” the answer is ”[Greek: aisthesei taute te dia ton ophthalmon deloise hemin ta chromata].”--”What kind of power is the sight with which we see things? It is that sense which, through the eyes, can reveal _colours_ to us.”

33. And now observe that while the graphic arts begin in the mere mimetic effort, they proceed, as they obtain more perfect realization, to act under the influence of a stronger and higher instinct. They begin by scratching the reindeer, the most interesting object of sight. But presently, as the human creature rises in scale of intellect, it proceeds to scratch, not the most interesting object of sight only, but the most interesting object of imagination; not the reindeer, but the Maker and Giver of the reindeer. And the second great condition for the advance of the art of sculpture is that the race should possess, in addition to the mimetic instinct, the realistic or idolizing instinct; the desire to see as substantial the powers that are unseen, and bring near those that are far off, and to possess and cherish those that are strange. To make in some way tangible and visible the nature of the G.o.ds--to ill.u.s.trate and explain it by symbols; to bring the immortals out of the recesses of the clouds, and make them Penates; to bring back the dead from darkness, and make them Lares.

34. Our conception of this tremendous and universal human pa.s.sion has been altogether narrowed by the current idea that Pagan religious art consisted only, or chiefly, in giving personality to the G.o.ds. The personality was never doubted; it was visibility, interpretation, and possession that the hearts of men sought. Possession, first of all--the getting hold of some hewn log of wild olive-wood that would fall on its knees if it was pulled from its pedestal--and, afterwards, slowly clearing manifestation; the exactly right expression is used in Lucian's dream,--[Greek: Pheidias edeixe ton Dia]; ”Showed[114] Zeus;” manifested him, nay, in a certain sense, brought forth, or created, as you have it, in Anacreon's ode to the Rose, of the birth of Athena herself--

[Greek: polemoklonon t' Athenen koruphes edeiknye Zeus.]

But I will translate the pa.s.sage from Lucian to you at length--it is in every way profitable.

35. ”There came to me, in the healing[115] night, a divine dream, so clear that it missed nothing of the truth itself; yes, and still after all this time, the shapes of what I saw remain in my sight, and the sound of what I heard dwells in my ears”--note the lovely sense of [Greek: enaulos]--the sound being as of a stream pa.s.sing always by in the same channel,--”so distinct was everything to me. Two women laid hold of my hands and pulled me, each towards herself, so violently, that I had like to have been pulled asunder; and they cried out against one another,--the one, that she was resolved to have me to herself, being indeed her own, and the other that it was vain for her to claim what belonged to others;--and the one who first claimed me for her own was like a hard worker, and had strength as a man's; and her hair was dusty, and her hand full of h.o.r.n.y places, and her dress fastened tight about her, and the folds of it loaded with white marble-dust, so that she looked just as my uncle used to look when he was filing stones: but the other was pleasant in features, and delicate in form, and orderly in her dress; and so in the end, they left it to me to decide, after hearing what they had to say, with which of them I would go; and first the hard featured and masculine one spoke:--

[Ill.u.s.tration: IV

THE NATIVITY OF ATHENA.]

36. ”'Dear child, I am the Art of Image-sculpture, which yesterday you began to learn; and I am as one of your own people, and of your house, for your grandfather,' (and she named my mother's father) 'was a stone-cutter; and both your uncles had good name through me: and if you will keep yourself well clear of the sillinesses and fluent follies that come from this creature,' (and she pointed to the other woman) 'and will follow me, and live with me, first of all, you shall be brought up as a man should be, and have strong shoulders; and, besides that, you shall be kept well quit of all restless desires, and you shall never be obliged to go away into any foreign places, leaving your own country and the people of your house; _neither shall all men praise you for your talk_.[116] And you must not despise this rude serviceableness of my body, neither this meanness of my dusty dress; for, pus.h.i.+ng on in their strength from such things as these, that great Phidias revealed Zeus, and Polyc.l.i.tus wrought out Hera, and Myron was praised, and Praxiteles marvelled at: therefore are these men wors.h.i.+pped with the G.o.ds.'”

37. There is a beautiful ambiguity in the use of the preposition with the genitive in this last sentence. ”Pus.h.i.+ng on from these things” means indeed, justly, that the sculptors rose from a mean state to a n.o.ble one; but not as _leaving_ the mean state;--not as, from a hard life, attaining to a soft one,--but as being helped and strengthened by the rough life to do what was greatest. Again, ”wors.h.i.+pped with the G.o.ds”

does not mean that they are thought of as in any sense equal to, or like to, the G.o.ds, but as being on the side of the G.o.ds against what is base and unG.o.dly; and that the kind of worth which is in them is therefore indeed wors.h.i.+pful, as having its source with the G.o.ds. Finally, observe that every one of the expressions, used of the four sculptors, is definitely the best that Lucian could have chosen. Phidias carved like one who had seen Zeus, and had only to _reveal_ him; Polyc.l.i.tus, in labour of intellect, completed his sculpture by just law, and _wrought_ out Hera; Myron was of all most _praised_, because he did best what pleased the vulgar; and Praxiteles, the most _wondered at_ or admired, because he bestowed utmost exquisiteness of beauty.

38. I am sorry not to go on with the dream; the more refined lady, as you may remember, is liberal or gentlemanly Education, and prevails at last; so that Lucian becomes an author instead of a sculptor, I think to his own regret, though to our present benefit. One more pa.s.sage of his I must refer you to, as ill.u.s.trative of the point before us; the description of the temple of the Syrian Hieropolis, where he explains the absence of the images of the sun and moon. ”In the temple itself,”

he says, ”on the left hand as one goes in, there is set first the throne of the sun; but no form of him is thereon, for of these two powers alone, the sun and the moon, they show no carved images. And I also learned why this is their law, for they say that it is permissible, indeed, to make of the other G.o.ds, graven images, since the forms of them are not visible to all men. But Helios and Selenaia are everywhere clear-bright, and all men behold them; what need is there therefore for sculptured work of these, who appear in the air?”

39. This, then, is the second instinct necessary to sculpture; the desire for the manifestation, description, and companions.h.i.+p of unknown powers; and for possession of a bodily substance--the ”bronze Strasbourg,” which you can embrace, and hang immortelles on the head of--instead of an abstract idea. But if you get nothing more in the depth of the national mind than these two feelings, the mimetic and idolizing instincts, there may be still no progress possible for the arts except in delicacy of manipulation and acc.u.mulative caprice of design. You must have not only the idolizing instinct, but an [Greek: ethos] which chooses the right thing to idolize! Else, you will get states of art like those in China or India, non-progressive, and in great part diseased and frightful, being wrought under the influence of foolish terror, or foolish admiration. So that a third condition, completing and confirming both the others, must exist in order to the development of the creative power.

40. This third condition is that the heart of the nation shall be set on the discovery of just or equal law, and shall be from day to day developing that law more perfectly. The Greek school of sculpture is formed during, and in consequence of, the national effort to discover the nature of justice; the Tuscan, during, and in consequence of, the national effort to discover the nature of justification. I a.s.sert to you at present briefly, what will, I hope, be the subject of prolonged ill.u.s.tration hereafter.

41. Now when a nation with mimetic instinct and imaginative longing is also thus occupied earnestly in the discovery of Ethic law, that effort gradually brings precision and truth into all its manual acts; and the physical progress of sculpture as in the Greek, so in the Tuscan, school, consists in gradually _limiting_ what was before indefinite, in _verifying_ what was inaccurate, and in _humanizing_ what was monstrous.

I might perhaps content you by showing these external phenomena, and by dwelling simply on the increasing desire of naturalness, which compels, in every successive decade of years, literally, in the sculptured images, the mimicked bones to come together, bone to his bone; and the flesh to come up upon them, until from a flattened and pinched handful of clay, respecting which you may gravely question whether it was intended for a human form at all;--by slow degrees, and added touch to touch, in increasing consciousness of the bodily truth,--at last the Aphrodite of Melos stands before you, a perfect woman. But all that search for physical accuracy is merely the external operation, in the arts, of the seeking for truth in the inner soul; it is impossible without that higher effort, and the demonstration of it would be worse than useless to you, unless I made you aware at the same time of its spiritual cause.

42. Observe farther; the increasing truth in representation is co-relative with increasing beauty in the thing to be represented. The pursuit of justice which regulates the imitative effort, regulates also the development of the race into dignity of person, as of mind; and their culminating art-skill attains the grasp of entire truth at the moment when the truth becomes most lovely. And then, ideal sculpture may go on safely into portraiture. But I shall not touch on the subject of portrait sculpture to-day; it introduces many questions of detail, and must be a matter for subsequent consideration.

43. These then are the three great pa.s.sions which are concerned in true sculpture. I cannot find better, or, at least, more easily remembered, names for them than ”the Instincts of Mimicry, Idolatry, and Discipline;” meaning, by the last, the desire of equity and wholesome restraint, in all acts and works of life. Now of these, there is no question but that the love of Mimicry is natural and right, and the love of Discipline is natural and right. But it looks a grave question whether the yearning for Idolatry, (the desire of companions.h.i.+p with images,) is right. Whether, indeed, if such an instinct be essential to good sculpture, the art founded on it can possibly be ”fine” art.

44. I must now beg for your close attention, because I have to point out distinctions in modes of conception which will appear trivial to you, unless accurately understood; but of an importance in the history of art which cannot be overrated.

When the populace of Paris adorned the statue of Strasbourg with immortelles, none, even the simplest of the pious decorators, would suppose that the city of Strasbourg itself, or any spirit or ghost of the city, was actually there, sitting in the Place de la Concorde. The figure was delightful to them as a visible nucleus for their fond thoughts about Strasbourg; but never for a moment supposed to _be_ Strasbourg.

Similarly, they might have taken delight in a statue purporting to represent a river instead of a city,--the Rhine, or Garonne, suppose,--and have been touched with strong emotion in looking at it, if the real river were dear to them, and yet never think for an instant that the statue _was_ the river.

And yet again, similarly, but much more distinctly, they might take delight in the beautiful image of a G.o.d, because it gathered and perpetuated their thoughts about that G.o.d; and yet never suppose, nor be capable of being deceived by any arguments into supposing, that the statue _was_ the G.o.d.