Part 14 (1/2)
People come here from all parts of the world, and glorify this masterpiece. They stand entranced before it with bated breath and parted lips, and when they speak, it is only in the catchy e.j.a.c.u.l.a.t.i.o.ns of rapture:
”Oh, wonderful!”
”Such expression!”
”Such grace of att.i.tude!”
”Such dignity!”
”Such faultless drawing!”
”Such matchless coloring!”
”Such feeling!”
”What delicacy of touch!”
”What sublimity of conception!”
”A vision! A vision!”
I only envy these people; I envy them their honest admiration, if it be honest--their delight, if they feel delight. I harbor no animosity toward any of them. But at the same time the thought will intrude itself upon me, How can they see what is not visible? What would you think of a man who looked at some decayed, blind, toothless, pock-marked Cleopatra, and said: ”What matchless beauty! What soul! What expression!” What would you think of a man who gazed upon a dingy, foggy sunset, and said: ”What sublimity! What feeling! What richness of coloring!” What would you think of a man who stared in ecstasy upon a desert of stumps and said: ”Oh, my soul, my beating heart, what a n.o.ble forest is here!”
You would think that those men had an astonis.h.i.+ng talent for seeing things that had already pa.s.sed away. It was what I thought when I stood before ”The Last Supper” and heard men apostrophizing wonders, and beauties and perfections which had faded out of the picture and gone, a hundred years before they were born. We can imagine the beauty that was once in an aged face; we can imagine the forest if we see the stumps; but we can not absolutely see these things when they are not there. I am willing to believe that the eye of the practiced artist can rest upon the Last Supper and renew a l.u.s.tre where only a hint of it is left, supply a tint that has faded away, restore an expression that is gone; patch, and color, and add, to the dull canvas until at last its figures shall stand before him aglow with the life, the feeling, the freshness, yea, with all the n.o.ble beauty that was theirs when first they came from the hand of the master. But I can not work this miracle. Can those other uninspired visitors do it, or do they only happily imagine they do?
After reading so much about it, I am satisfied that the Last Supper was a very miracle of art once. But it was three hundred years ago.
It vexes me to hear people talk so glibly of ”feeling,” ”expression,”
”tone,” and those other easily acquired and inexpensive technicalities of art that make such a fine show in conversations concerning pictures.
There is not one man in seventy-five hundred that can tell what a pictured face is intended to express. There is not one man in five hundred that can go into a court-room and be sure that he will not mistake some harmless innocent of a juryman for the black-hearted a.s.sa.s.sin on trial. Yet such people talk of ”character” and presume to interpret ”expression” in pictures. There is an old story that Matthews, the actor, was once lauding the ability of the human face to express the pa.s.sions and emotions hidden in the breast. He said the countenance could disclose what was pa.s.sing in the heart plainer than the tongue could.
”Now,” he said, ”observe my face--what does it express?”
”Despair!”
”Bah, it expresses peaceful resignation! What does this express?”
”Rage!”
”Stuff! It means terror! This!”
”Imbecility!”
”Fool! It is smothered ferocity! Now this!”
”Joy!”
”Oh, perdition! Any a.s.s can see it means insanity!”
Expression! People coolly pretend to read it who would think themselves presumptuous if they pretended to interpret the hieroglyphics on the obelisks of Luxor--yet they are fully as competent to do the one thing as the other. I have heard two very intelligent critics speak of Murillo's Immaculate Conception (now in the museum at Seville,) within the past few days. One said: