Part 21 (1/2)
THE IDEA OF A CANON OF PROPORTION FOR THE HUMAN FIGURE
Durer often painted the Virgin's head as a mere exercise or example in those proportion studies with which we must presently deal.
Sir W. M. CONWAY, in ”Durer's Literary Remains,” p. 151.
As soon as he comes to speak of the very essence of artistic work, he forgets theories and imitations of the antique; he knows nothing of composition from fragments of Nature, of measurements and speculations.
No longer trusting to such aids as these, but launching himself boldly on the broad stream of Nature, he believes that he shall attain to a higher harmony in his work.
THAUSING'S ”Albert Durer,” vol. ii., p. 318.
I
The idea of a canon for human proportions has proved a great stumbling-block for so-called cla.s.sical or academic artists. It is usually taken to mean an absolutely right or harmonious proportion, any deviation from which cannot fail to result in a diminution of beauty.
According to their thoroughness, the devotees of this idea seek to arrive at such a scale of proportions for a varying number of different ages in either s.e.x; often even modifying this again for diverse types, as tall or short, fat or lean, dark or blonde, but allowing no excessive variation for these causes; so that abnormally tall people and dwarfs are not considered. This is, I take it, what the great artist Albert Durer is generally taken to have been aiming at in his books on proportion. It will not be difficult, I think, to show that Durer had quite a different idea of what a canon of proportion should be, and how it should be applied. And certainly, had it been possible to study Greek practice more closely, and in a larger number of examples, when this idea (supposed to be drawn from that source) was chiefly mooted, a very different notion of the canon of proportion would have been forced on the most academical of theorists. Durer's great superiority over such academical masters is, that his idea of a canon of proportion and its use agrees far better with what was apparently Greek practice.
Any one who has followed at all the interesting attempts made by Professor Furtw.a.n.gler and others to group together, by attention to the measurements of the different parts of the figure, works belonging to the different masters, schools, and centres, will have perceived that he is led to a.s.sume a traditional canon of proportion from which a master deviates slightly in the direction of some bias of his own mind towards closer knit or more slim figures; such variations being in the earlier stages very slight. Again, it is supposed that from the canon followed by a master, different pupils may branch off in opposite directions according to the leanings of their personal sentiment for beauty. The conception of these ramifications has at least created the hope that critics may follow them through a great number of complications, since a master may modify his canon--after certain pupils have already struck out for themselves, and new pupils may start from his modified canon; and so on into an infinite criss-cross of branches, as any sculptor may be influenced to modify his canon by his fellows or by the masters of other schools whose work he comes across later. In any case, this main fact arises, that the canon appears as what the artist deviated from, not what he abided by: and any one who has any feeling for the infinite nicety of the results obtained by Greek sculptors will easily apprehend that each masterpiece established a new and slightly different canon, and was then in the position to be in its turn again deviated from, as Flaubert says:
”The conception of every work of art carries within it its own rule and method, which must be found out before it can be achieved.”
”Chayue ceuvre a faire a sa poetique en soi, qu'il faut trouver.”
II
The same thing is a.s.serted by literary critics to have been the cause of the repet.i.tion of subjects in Greek tragedy, and to have resulted in the infinite niceties of their forms, which are never the same and never radically new.
The terrible old mythic story on which the drama was founded stood, before he entered the theatre, traced in its bare outlines upon the spectator's mind; it stood in his memory as a group of statuary, faintly seen, at the end of a long dark vista. Then came the poet, embodying outlines, developing situations, not a word wasted, not a sentiment capriciously thrown in. Stroke upon stroke, the drama proceeded; the light deepened upon the group; more and more it revealed itself to the riveted gaze of the spectator; until at last, when the final words were spoken, it stood before him in broad sunlight, a model of immortal beauty.
This pa.s.sage from Matthew Arnold's deservedly famous preface well emphasises one advantage that a tradition of subject and treatment gave to the Greek poet as to the Greek sculptor: the economy of means it made possible, ”not a word wasted, not a sentiment capriciously thrown in,”--since every deviation from, every addition to, the traditional story and treatment, was immediately appreciated by an audience thoroughly conversant with that tradition, and often with several previous masterpieces treating it. By merely leaving out an incident, or omitting to appeal to a sentiment, a Greek tragedian could flood his whole work with a new significance. So that the temptation to be eccentric, the temptation to hit too hard or at random because he was not sure of exactly where the mind stood that he would impress, did not exist in anything like the same degree for him as it did for Shakespeare and Michael Angelo as it does for romantic and origina natures to-day.
The absence of a sufficient body of traditional culture belonging to every educated person tends always to force the artist to commence by teaching the alphabet to his public. As Coleridge so justly remarked in the case of Wordsworth: ”He had, like all great artists, to create the taste by which he was to be relished, to teach the art by which he was to be seen and judged.” All great artists no doubt have to do this, but the modern artist is in the position of the Israelite who was bidden not only to make bricks, but to find himself in stubble and straw, as compared with a Greek who could appeal to traditional conceptions with certainty. Dr. Verrall is no doubt right when he says:
Every one knows, even if the full significance of the fact is not always sufficiently estimated, that the tragedians of Athens did not tell their story at all as the telling of a story is conceived by a modern dramatist, whose audience, when the curtain goes up, know nothing which is not in the play-bill.
This ignorant public, this uncultivated and unmanured field with which every modern artist has to commence, is the greatest let to the creator.
What wonder that he should so often prefer to make a gaudy show with yellow weeds, when he perceives that there is hardly time in one man's life to produce a respectable crop of wheat from such a wilderness?
”The story of an Athenian tragedy is never completely told; it is implied, or, to repeat the expression used above, it is ill.u.s.trated by a selected scene or scenes. And the further we go back the truer this is,”
continues Dr. Verrall; and the same was doubtless true of sculpture and painting. It is impossible to over-estimate the importance or advantage of this fact to the artist. For religious art, for art that appeals to the sum and total of a man's experience of beauty in life, a public cultivated in this sense is a necessity. Giotto and Fra Angelico enjoyed this almost to the same degree as aeschylus or Phidias; Michael Angelo and the great artists of the Renascence generally enjoyed it in a very great degree, and reaped an advantage comparable to that which Euripides and his contemporaries and immediate successors enjoyed. The tradition enabled such an artist to impress by means of subtleties, niceties, and refinements, instead of forcing him to attempt always to more or less seduce, astonish or overawe; strong measures which grow almost necessarily into bad habits, and end by perverting the taste they created. This, it has often been remarked, was the case even with Michael Angelo, even with Shakespeare. Yet nowadays, to enable a man to remark this, exceptional culture is required.
III
This idea of the use of a canon may be ill.u.s.trated in many ways; for, like all notions which resume actual experiences, it will be found applicable in many spheres. Thus, on the subject of verse, the eternal quarrel between the poet and the pedant is, that for the first the rules of prosody and rhyme are only useful in so far as they make the licenses he takes appreciable at their just value; while for the pedant such licenses ever anew seem to imply ignorance of the rule or incapacity to follow it,--an absurd mistake, since the power to create and impress has little to do with the means employed; and if a man builds up for himself a barrier of foregone conclusions about the exact manner in which alone he will allow himself to be deeply impressed, it is very certain he will have few save painful impressions. Or take another ill.u.s.tration--an artist the other day told me that he had noticed that one could almost always trace a faintly ruled vertical line on the paper which the greatest of all modern draughtsmen used. Ingres, then, with all his freedom, vivacity, and accuracy of control over the point he employed to draw with, still found it useful to have a straight line ruled on his paper as a student does, and may often even have resorted to the plumb-line. It enabled his eye to test the subtlest deviations in the other lines with which he was creating the balance, swing or stability of a figure. Rules of art are, like this straight line, dead and powerless in themselves: they help both creator and lover to follow and appreciate the infinite freedom and subtlety of the living work. The same thing might be ill.u.s.trated with regard to manners; a fine standard of social address and receptivity must be established before the varieties and subtleties of those whose genius creates beautiful relations can be appreciated at their full value in their full variety.
This dead law must be buried in everybody's mind and heart before they can rise to that conscious freedom which is opposite to the freedom of the wild animals, who never know why they do, nor appreciate how it is done; neither are they able to rejoice in the address of others; much less can they relish the infinite refinements of exhilarating apprehension, which make of laughter, tears, speech, silence, nearness and distance, a music which holds the enraptured soul in ecstasy; which created and constantly renews the hope of Heaven. And what blacker minister of a more sterile h.e.l.l than the social pedant who only knows the rule, and mistakes grace and delicacy, frankness and generosity, for more or less grave infractions of it? But the happy critic, free from any personal knowledge of what creation means, or what aids are likely to forward it, is for ever in such a hurry to correct great creators like Leonardo, Durer, or Hokusai, that he fails to understand them; and when he has caught them saying, ”This is how anger or despair is expressed,” calmly smiles in his superiority and says,
”He had a scientific law for putting a battle on to canvas, one condition of which was that 'there must not be a level spot which is not trampled with gore.' But Leonardo did no harm; his canon was based on literary rather than artistic interests.”
a.n.a.logies with scientific laws have served art and art criticism a very bad turn of late years. Nothing can be more useful to an artist than knowledge of how the emotions are expressed by the contortion of the features; but n.o.body in his senses could ever imagine that a rule for the expression of anger was rigid throughout and must never be departed from; every one approaching such a rule with a view to practice instead of criticism must immediately perceive that its only use is to be departed from in various degrees. Leonardo's advice for the painting of a battle-piece is excellent if it is understood in the sense in which it was meant,--”everything is what it is and not another thing,” as Bishop Butler put it. Be sure and make your battle a battle indeed. It is time we should realise that what the great artists wrote about art is likely to be as sensible as are the works they created. How absurd it is for some one who can neither carve nor paint, much less create, to imagine he easily grasps the rules of art better than a great master! To such people let us repeat again and again Hamlet's impatient: ”Oh, mend it altogether!”