[a] See Plate 14[55].
[b] "Traduction des 34me, 35me, et 36me livres de Pline."
[c] Laoc.o.o.n.
The artifice of Timanthes was practically unused during the Renaissance, though Botticelli once conceals the face of a woman lamenting over the body of Christ,[a] and Richardson quotes a drawing by Polidoro where the Virgin hides her face in drapery in a lamentation scene. In Flanders at a little earlier period, Roger van der Weyden used the device,[b] and the Maitre de Flemalle shows St. John turning his head away and holding his hand to his face in a Crucifixion scene.[c] In the succeeding centuries little was known of the practice, but quite lately it has come into use again. Boecklin painted a Pieta in which the Virgin has thrown herself over the dead body of Christ in an agony of grief, her whole form being covered by a cloak. Feuerbach has a somewhat similar arrangement, and in a picture of the Departure of Jason, he hides the face of an attendant of Medea, a plan adopted in two or three frescoes of the subject at Pompeii. Prud"hon, in a Crucifixion scene, hides the face of the Magdalene in her hands, and Kaulbach in his Marguerite so bends her head that her face is completely concealed from the observer.
Where the face cannot altogether be hidden owing to the character of the design, it is sometimes thrown into so deep a shade that the features are indistinguishable, this being an excellent device for symbolical figures typifying great anguish.[d]
[a] The Brera, Milan.
[b] In a scene of The Eucharist, Antwerp.
[c] Christ on the Cross, Berlin.
[d] As in Hacker"s Cry of Egypt.
It is not a good plan in a tragic design merely to turn the head away to indicate grief or sorrow, because in such a case the artist is unable to differentiate between a person experiencing intense grief, and one who turns his head from horror of the tragedy.[a] The scheme of half veiling the face is not often successful, since the depth of emotion that would be presumed from such an action may be more than counterbalanced by the very limited feeling which can be indicated by the part of the face remaining exposed. On account of a neutralizing effect of this kind, Loefftz"s fine picture of the Dead Christ at Munich is much weakened, for there is no stronger expression on the part of the Virgin than patient resignation. Sorrow may well be displayed by semi-concealment of the features, because here the necessary expression may be produced by the eyes alone.[b] In ancient art, to half conceal the face indicated discretion, as in the case of a Pompeian fresco where a nurse of the young Neptune, handing him over to a shepherd for education, has her mouth and chin covered, the meaning of this being that she is acquainted with the high birth of the boy, but must not reveal it.
[a] See Gros"s Timoleon of Corinth.
[b] Leighton"s Captive Andromache.
THE SMILE
A p.r.o.nounced smile in nature is always transitory, and hence should be avoided when possible in a painting. The only smile that does not tire is that which is so faint as to appear to be permanent in the expression, and it has been the aim of many painters to produce this smile. An examination of numerous pictures where a smile is expressed in the countenance has convinced the writer that when either the eyes alone, or the eyes and mouth together, are used to indicate a smile, it is invariably over-p.r.o.nounced as a suggestive permanent feature, and that in every case of such permanence, success arises from work on the mouth alone.
The permanent smile was not studied in Europe till the Milanese school was founded, and in this nearly every artist gave his attention to it, following the example of Lionardo. This great master, who was well acquainted with the principles of art, is not likely to have had in his mind an evanescent expression when he experimented with the smile, and one can hardly understand therefore why this feature is almost invariably over-emphasized in his works. In his portrayal of women he used both eyes and mouth to bring about the smile,[a] and more commonly than not paid most attention to the eyes. Perhaps he had in view the production of a permanent smile solely by means of the eyes, which play so great a part in general expression. In nature it is physically impossible for a smile to be produced without a faint variation in the mouth line, while the lower eyelids may remain perfectly free from any change in light and shade, even with a smile more p.r.o.nounced than is necessary for apparent permanence. In the Mona Lisa at Boston,[56] the smile is very faintly indicated by the eyes, and most p.r.o.nounced at the mouth, while in the famous Paris picture, the eyes are chiefly responsible for the smile, the mouth only slightly a.s.sisting.[57] Many smiling faces were produced by others of the Milanese school, and as a rule the mouth only was used, often with complete success, notably by B. Luini,[b] Pedrini,[c] and Ferrari.[d] Raphael never used the eyes to a.s.sist in producing a smile, except with the Child Christ,[e] and in all cases where he exhibits a smile in a Madonna[f] or portrait,[g] it appears definitely permanent. As a rule the great artists of the Renaissance other than the disciples of Lionardo, rarely produced a smile with the intention of suggesting a permanently happy expression, and in the seventeenth century little attention was given to it.
[a] An exception where the mouth only is used is a drawing for the Madonna and Child with St. Anne, Burlington House, London.
[b] Salome, Uffizi Gallery, Florence.
[c] Madonna and Child, Arezzo.
[d] Madonna and Child, Brera, Milan.
[e] Cowper Madonna, Panshanger, England.
[f] See Casa Tempi Madonna, Munich; and Virgin with a Goldfinch, Uffizi.
[g] Portrait of a Young Man, Budapest; and the Fornarina, Barberini Gallery, Florence.
The great French portraitists of the eighteenth century frequently made the smile a feature in expression, and a few of them, notably La Tour, seldom produced a countenance without one. In most cases the smile is a little too p.r.o.nounced for permanence, but there are many examples of a faint and delicate smile which may well suggest an habitual condition.
Rigaud"s Louis XV. as a Boy is an instance,[a] though here the illusion quickly pa.s.ses when we bring to mind the other portraits of the monarch.
Nattier,[b] Boucher,[c] Dumont le Romain,[d] Perronneau,[e] Chardin, Roslin, and others, sometimes succeeded, but the French master of the smile was La Tour who executed quite a dozen examples which Lionardo might have envied.[f] Of British artists Romney was the most adept in producing a permanent smile,[g] but strange to say there is no instance of one in his many portraits of Lady Hamilton, beyond her representation as a bacchante.[h] Here the smile is far too p.r.o.nounced for a plain portrait, but a bacchante may reasonably be supposed to be ever engaged in scenes of pleasure, and hence the feature does not seem to be out of place. Reynolds commonly used both eyes and mouth in creating his smiles,[i] but Raeburn was nearly equal to Romney in the number of his felicitous smiles, while he seldom exceeded the minimum expression required for permanence.[j] Gainsborough produced a few portraits of women with a vague furtive smile, sweet and expressive beyond degree.[k]
They are invariably brought about by a faint curvature of the mouth line.
[a] At Versailles.
[b] Madame Louise, at Versailles.
[c] Portrait of a Young Woman, the Louvre.
[d] Two examples in the group Madame Mercier and Family, Louvre.
[e] Madame Olivier, Groult (formerly), Coll., Paris.
[f] See Madame de la Popeliniere and Mdlle. Carmago, both at Saint Quentin Museum; and Madame Pompadour, Louvre.
[g] See Mrs. Yates, Llangattock Coll.; William Booth, Lathom Coll.; and Mrs. Tickle, A. de Rothschild (formerly) Coll., all England.
[h] T. Chamberlayne Coll., England.
[i] For exceptions see Hon. Lavinia Bingham, Spencer Coll., and Mrs.
Abington, Fife Coll., both England.
[j] See Farmer"s Wife, Mitch.e.l.l Coll.; Mrs. Lauzun, National Gallery, London; and Mrs. Balfour, Beith Coll., Scotland.
[k] Lady Sheffield, Alice Rothschild Coll.; and Mrs. Leybourne, Popham Coll.
THE OPEN MOUTH
If there be one transient feature more than another which should be avoided in a painting, and particularly in the princ.i.p.al figure, it is a wide-open mouth. Necessarily, after a short acquaintance with a picture containing such a feature, either the mouth appears to be kept open by a wedge, or, as in the case of a laugh, the face is likely to wear an abnormal expression approaching to idiocy, for it is altogether contrary to experience of normal persons in real life, for a mouth to be kept open longer than for an instant or two. Hence the first artists have studiously refrained from exhibiting a wide-open mouth, or indeed one that is open at all except to such an extent that the parted lips appear a permanent condition. But a few great men have erred in the matter. Thus, Mantegna shows the child Christ with the mouth widely open in a half-vacant and half-startled expression, which is immediately repelling.[a] Dosso Dossi has several pictures much injured by the feature,[b] and in Ercole di Roberti"s Concert, no less than three mouths are wide open.[c] One of the figures in Velasquez"s Three Musicians opens his mouth far too widely,[d] while Hals has half a dozen pictures with the defect.[e] A rare mistake was made by Carlo Dolci when showing Christ with His mouth open wide in the act of utterance,[f] and Mengs erred similarly in St. John Baptist Preaching.[g] In more modern times the fault is seldom noticeable among artists of repute, though occasionally a bad example occurs, as in Winslow Homer"s All"s Well.[h]
Even when an open mouth seems unavoidable, the effect is by no means neutralized.[i]
[a] Virgin and Child at Bergamo.
[b] Notably A Muse Instructing a Court Poet, and Nymph and Satyr, Pitti Palace.
[c] National Gallery, London.
[d] Berlin Gallery.
[e] See Merry Company at Table, Met. Mus., N. Y., and similar pictures.
[f] Christ Blessing, a single figure picture.
[g] Hermitage, Petrograd.
[h] Boston Museum, U. S. A. See Plate 15.
[i] As in Dow"s The Dentist, Schwerin Mus., and a similar work at the Louvre.
When the blemish is in an accessory figure, it is of lesser importance as there it becomes an incidental circ.u.mstance on the mind of the observer. Thus, in Reynolds"s Infant Hercules, where Alcmena, on seeing the child holding the snakes, opens her mouth with surprise and alarm, the action of the central figure is so strong that the importance of the others present is comparatively insignificant.[a] Nevertheless in a Pompeian fresco of the same subject, care has been taken to close the mouth of Alcmena. Where the design represents several persons singing, it is well possible to indicate the action without showing the mouths open, as in Raphael"s St. Cecilia.[b] In a picture of a like subject, with the Saint in the centre of a group of five singers, Domenichino shows only the two outside figures with open mouths, and one of these is in profile. There are several works where David is seen singing to the accompaniment of a harp, but though his mouth is open, the figure is in profile, and the lips are hidden by moustache and beard.[c]
[a] Hermitage, Petrograd.