Renaissance in Italy.
Vol. 3.
by John Addington Symonds.
PREFACE
This third volume of my book on the "Renaissance in Italy" does not pretend to retrace the history of the Italian arts, but rather to define their relation to the main movement of Renaissance culture. Keeping this, the chief object of my whole work, steadily in view, I have tried to explain the dependence of the arts on mediaeval Christianity at their commencement, their gradual emanc.i.p.ation from ecclesiastical control, and their final attainment of freedom at the moment when the cla.s.sical revival culminated.
Not to notice the mediaeval period in this evolution would be impossible; since the revival of Sculpture and Painting at the end of the thirteenth century was among the earliest signs of that new intellectual birth to which we give the t.i.tle of Renaissance. I have, therefore, had to deal at some length with stages in the development of Architecture, Sculpture, and Painting, which form a prelude to the proper age of my own history.
In studying the architectural branch of the subject, I have had recourse to Fergusson"s "Ill.u.s.trated Handbook of Architecture," to Burckhardt"s "Cicerone," to Gruner"s "Terra-Cotta Buildings of North Italy," to Milizia"s "Memorie degli Architetti," and to many ill.u.s.trated works on single buildings in Rome, Tuscany, Lombardy, and Venice. For the history of Sculpture I have used Burckhardt"s "Cicerone," and the two important works of Charles C. Perkins, ent.i.tled "Tuscan Sculptors," and "Italian Sculptors." Such books as "Le Tre Porte del Battistero di Firenze,"
Gruner"s "Cathedral of Orvieto," and Lasinio"s "Tabernacolo della Madonna d"Orsammichele" have been helpful by their ill.u.s.trations. For the history of Painting I have made use princ.i.p.ally of Vasari"s "Vite de" piu eccellenti Pittori," &c., in Le Monnier"s edition of Crowe and Cavalcaselle"s "History of Painting," of Burckhardt"s "Cicerone," of Rosini"s ill.u.s.trated "Storia della Pittura Italiana," of Rio"s "L"Art Chretien," and of Henri Beyle"s "Histoire de la Peinture en Italie." I should, however, far exceed the limits of a preface were I to make a list of all the books I have consulted with profit on the history of the arts in Italy.
In this part of my work I feel that I owe less to reading than to observation. I am not aware of having mentioned any important building, statue, or picture which I have not had the opportunity of studying. What I have written in this volume about the monuments of Italian art has always been first noted face to face with the originals, and afterwards corrected, modified, or confirmed in the course of subsequent journeys to Italy. I know that this method of composition, if it has the merit of freshness, entails some inequality of style and disproportion in the distribution of materials. In the final preparation of my work for press I have therefore endeavoured, as far as possible, to compensate this disadvantage by adhering to the main motive of my subject--the ill.u.s.tration of the Renaissance spirit as this was manifested in the Arts.
I must add, in conclusion, that Chapters VII. and IX. and Appendix II. are in part reprinted from the "Westminster," the "Cornhill," and the "Contemporary."
CLIFTON: _March_ 1877.
CHAPTER I
THE PROBLEM FOR THE FINE ARTS
Art in Italy and Greece--The Leading Phase of Culture--aesthetic Type of Literature--Painting the Supreme Italian Art--Its Task in the Renaissance--Christian and Cla.s.sical Traditions--Sculpture for the Ancients--Painting for the Romance Nations--Mediaeval Faith and Superst.i.tion--The Promise of Painting--How far can the Figurative Arts express Christian Ideas?--Greek and Christian Religion--Plastic Art incapable of solving the Problem--A more Emotional Art needed--Place of Sculpture in the Renaissance--Painting and Christian Story--Humanization of Ecclesiastical Ideas by Art--Hostility of the Spirit of True Piety to Art--Compromises effected by the Church--Fra Bartolommeo"s S.
Sebastian--Irreconcilability of Art and Theology, Art and Philosophy--Recapitulation--Art in the end Paganises--Music--The Future of Painting after the Renaissance.
It has been granted only to two nations, the Greeks and the Italians, and to the latter only at the time of the Renaissance, to invest every phase and variety of intellectual energy with the form of art. Nothing notable was produced in Italy between the thirteenth and the seventeenth centuries that did not bear the stamp and character of fine art. If the methods of science may be truly said to regulate our modes of thinking at the present time, it is no less true that, during the Renaissance, art exercised a like controlling influence. Not only was each department of the fine arts practised with singular success; not only was the national genius to a very large extent absorbed in painting, sculpture, and architecture; but the aesthetic impulse was more subtly and widely diffused than this alone would imply. It possessed the Italians in the very centre of their intellectual vitality, imposing its conditions on all the manifestations of their thought and feeling, so that even their shortcomings may be ascribed in a great measure to their inability to quit the aesthetic point of view.
We see this in their literature. It is probable that none but artistic natures will ever render full justice to the poetry of the Renaissance.
Critics endowed with a less lively sensibility to beauty of outline and to harmony of form than the Italians, complain that their poetry lacks substantial qualities; nor is it except by long familiarity with the plastic arts of their contemporaries that we come to understand the ground a.s.sumed by Ariosto and Poliziano. We then perceive that these poets were not so much unable as instinctively unwilling to go beyond a certain circle of effects. They subordinated their work to the ideal of their age, and that ideal was one to which a painter rather than a poet might successfully aspire. A succession of pictures, harmoniously composed and delicately toned to please the mental eye, satisfied the taste of the Italians. But, however exquisite in design, rich in colour, and complete in execution this literary work may be, it strikes a Northern student as wanting in the highest elements of genius--sublimity of imagination, dramatic pa.s.sion, energy and earnestness of purpose. In like manner, he finds it hard to appreciate those didactic compositions on trifling or prosaic themes, which delighted the Italians for the very reason that their workmanship surpa.s.sed their matter. These defects, as we judge them, are still more apparent in the graver branches of literature. In an essay or a treatise we do not so much care for well-balanced disposition of parts or beautifully rounded periods, though elegance may be thought essential to cla.s.sic masterpieces, as for weighty matter and trenchant observations. Having the latter, we can dispense at need with the former.
The Italians of the Renaissance, under the sway of the fine arts, sought after form, and satisfied themselves with rhetoric. Therefore we condemn their moral disquisitions and their criticisms as the flimsy playthings of intellectual voluptuaries. Yet the right way of doing justice to these stylistic trifles is to regard them as products of an all-embracing genius for art, in a people whose most serious enthusiasms were aesthetic.
The speech of the Italians at that epoch, their social habits, their ideal of manners, their standard of morality, the estimate they formed of men, were alike conditioned and qualified by art. It was an age of splendid ceremonies and magnificent parade, when the furniture of houses, the armour of soldiers, the dress of citizens, the pomp of war, and the pageantry of festival were invariably and inevitably beautiful. On the meanest articles of domestic utility, cups and platters, door-panels and chimney-pieces, coverlets for beds and lids of linen-chests, a wealth of artistic invention was lavished by innumerable craftsmen, no less skilled in technical details than distinguished by rare taste. From the Pope upon S. Peter"s chair to the clerks in a Florentine counting-house, every Italian was a judge of art. Art supplied the spiritual oxygen, without which the life of the Renaissance must have been atrophied. During that period of prodigious activity the entire nation seemed to be endowed with an instinct for the beautiful, and with the capacity for producing it in every conceivable form. As we travel through Italy at the present day, when "time, war, pillage, and purchase" have done their worst to denude the country of its treasures, we still marvel at the incomparable and countless beauties stored in every burgh and hamlet. Pacing the picture galleries of Northern Europe, the country seats of English n.o.bles, and the palaces of Spain, the same reflection is still forced upon us: how could Italy have done what she achieved within so short a s.p.a.ce of time? What must the houses and the churches once have been, from which these spoils were taken, but which still remain so rich in masterpieces?
Psychologically to explain this universal capacity for the fine arts in the nation at this epoch, is perhaps impossible. Yet the fact remains, that he who would comprehend the Italians of the Renaissance must study their art, and cling fast to that Ariadne-thread throughout the labyrinthine windings of national character. He must learn to recognise that herein lay the sources of their intellectual strength as well as the secret of their intellectual weakness.
It lies beyond the scope of this work to embrace in one inquiry the different forms of art in Italy, or to a.n.a.lyse the connection of the aesthetic instinct with the manifold manifestations of the Renaissance.
Even the narrower task to which I must confine myself, is too vast for the limits I am forced to impose upon its treatment. I intend to deal with Italian painting as the one complete product which remains from the achievements of this period, touching upon sculpture and architecture more superficially. Not only is painting the art in which the Italians among all the nations of the modern world stand unapproachably alone, but it is also the one that best enables us to gauge their genius at the time when they impressed their culture on the rest of Europe. In the history of the Italian intellect painting takes the same rank as that of sculpture in the Greek. Before beginning, however, to trace the course of Italian art, it will be necessary to discuss some preliminary questions, important for a right understanding of the relations a.s.sumed by painting to the thoughts of the Renaissance, and for explaining its superiority over the sister art of sculpture in that age. This I feel the more bound to do because it is my object in this volume to treat of art with special reference to the general culture of the nation.
What, let us ask in the first place, was the task appointed for the fine arts on the threshold of the modern world? They had, before all things, to give form to the ideas evolved by Christianity, and to embody a cla.s.s of emotions unknown to the ancients.[2] The inheritance of the Middle Ages had to be appropriated and expressed. In the course of performing this work, the painters helped to humanise religion, and revealed the dignity and beauty of the body of man. Next, in the fifteenth century, the riches of cla.s.sic culture were discovered, and art was called upon to aid in the interpretation of the ancient to the modern mind. The problem was no longer simple. Christian and pagan traditions came into close contact, and contended for the empire of the newly liberated intellect. During this struggle the arts, true to their own principles, eliminated from both traditions the more strictly human elements, and expressed them in beautiful form to the imagination and the senses. The brush of the same painter depicted Bacchus wedding Ariadne and Mary fainting on the hill of Calvary. Careless of any peril to dogmatic orthodoxy, and undeterred by the dread of encouraging pagan sensuality, the artists wrought out their modern ideal of beauty in the double field of Christian and h.e.l.lenic legend. Before the force of painting was exhausted, it had thus traversed the whole cycle of thoughts and feelings that form the content of the modern mind. Throughout this performance, art proved itself a powerful co-agent in the emanc.i.p.ation of the intellect; the impartiality wherewith its methods were applied to subjects sacred and profane, the emphasis laid upon physical strength and beauty as good things and desirable, the subordination of cla.s.sical and mediaeval myths to one aesthetic law of loveliness, all tended to withdraw attention from the differences between paganism and Christianity, and to fix it on the goodliness of that humanity wherein both find their harmony.
This being in general the task a.s.signed to art in the Renaissance, we may next inquire what const.i.tuted the specific quality of modern as distinguished from antique feeling, and why painting could not fail to take the first place among modern arts. In other words, how was it that, while sculpture was the characteristic fine art of antiquity, painting became the distinguishing fine art of the modern era? No true form of figurative art intervened between Greek sculpture and Italian painting.
The latter took up the work of investing thought with sensible shape from the dead hands of the former. Nor had the tradition that connected art with religion been interrupted, although a new cycle of religious ideas had been subst.i.tuted for the old ones. The late Roman and Byzantine manners, through which the vital energies of the Athenian genius dwindled into barren formalism, still lingered, giving crude and lifeless form to Christian conceptions. But the thinking and feeling subject, meanwhile, had undergone a change so all-important that it now imperatively required fresh channels for its self-expression. It was destined to find these, not as of old in sculpture, but in painting.
During the interval between the closing of the ancient and the opening of the modern age, the faith of Christians had attached itself to symbols and material objects little better than fetishes. The host, the relic, the wonder-working shrine, things endowed with a mysterious potency, evoked the yearning and the awe of medieval mult.i.tudes. To such concrete actualities the worshippers referred their sense of the invisible divinity. The earth of Jerusalem, the Holy Sepulchre, the House of Loreto, the Sudarium of Saint Veronica, aroused their deepest sentiments of aweful adoration. Like Thomas, they could not be contented with believing; they must also touch and handle. At the same time, in apparent contradistinction to this demand for things of sense as signs of super-sensual power, the claims of dogma on the intellect grew more imperious, and mysticism opened for the dreaming soul a realm of spiritual rapture. For the figurative arts there was no true place in either of these regions. Painting and sculpture were alike alien to the grosser superst.i.tions, the scholastic subtleties, and the ecstatic trances of the Middle Ages; nor had they anything in common with the logic of theology.
Votaries who kissed a fragment of the cross with pa.s.sion, could have found but little to satisfy their ardour in pictures painted by a man of genius.
A formless wooden idol, endowed with the virtue of curing disease, charmed the pilgrim more than a statue noticeable only for its beauty or its truth to life. We all know that _wunderthatige Bilder sind meist nur schlechte Gemalde_. In architecture alone, the mysticism of the Middle Ages, their vague but potent feelings of infinity, their yearning towards a deity invisible, but localised in holy things and places, found artistic outlet. Therefore architecture was essentially a medieval art. The rise of sculpture and painting indicated the quickening to life of new faculties, fresh intellectual interests, and a novel way of apprehending the old substance of religious feeling; for comprehension of these arts implies delight in things of beauty for their own sake, a sympathetic att.i.tude towards the world of sense, a new freedom of the mind produced by the regeneration of society through love.
The mediaeval faiths were still vivid when the first Italian painters began their work, and the sincere endeavour of these men was to set forth in beautiful and worthy form the truths of Christianity. The eyes of the worshipper should no longer have a mere stock or stone to contemplate: his imagination should be helped by the dramatic presentation of the scenes of sacred history, and his devotion be quickened by lively images of the pa.s.sion of our Lord. Spirit should converse with spirit, through no veil of symbol, but through the transparent medium of art, itself instinct with inbreathed life and radiant with ideal beauty. The body and the soul, moreover, should be reconciled; and G.o.d"s likeness should be once more acknowledged in the features and the limbs of man. Such was the promise of art; and this promise was in a great measure fulfilled by the painting of the fourteenth century. Men ceased to worship their G.o.d in the holiness of ugliness; and a great city called its street Glad on the birthday-festival of the first picture investing religious emotion with aesthetic charm. But in making good the promise they had given, it was needful for the arts on the one hand to enter a region not wholly their own--the region of abstractions and of mystical conceptions; and on the other to create a world of sensuous delightfulness, wherein the spiritual element was materialised to the injury of its own essential quality. Spirit, indeed, spake to spirit, so far as the religious content was concerned; but flesh spake also to flesh in the aesthetic form. The incarnation promised by the arts involved a corresponding sensuousness. Heaven was brought down to earth, but at the cost of making men believe that earth itself was heavenly.
At this point the subject of our inquiry naturally divides into two main questions. The first concerns the form of figurative art specially adapted to the requirements of religious thought in the fourteenth century. The second treats of the effect resulting both to art and religion from the expression of mystical and theological conceptions in plastic form.
When we consider the nature of the ideas a.s.similated in the Middle Ages by the human mind, it is clear that art, in order to set them forth, demanded a language the Greeks had never greatly needed, and had therefore never fully learned. To over-estimate the difference from an aesthetic point of view between the religious notions of the Greeks and those which Christianity had made essential, would be difficult. Faith, hope, and charity; humility, endurance, suffering; the Resurrection and the Judgment; the Pall and the Redemption; Heaven and h.e.l.l; the height and depth of man"s mixed nature; the drama of human destiny before the throne of G.o.d: into the sphere of thoughts like these, vivid and solemn, transcending the region of sense and corporeity, carrying the mind away to an ideal world, where the things of this earth obtained a new reality by virtue of their relation to an invisible and infinite Beyond, the modern arts in their infancy were thrust. There was nothing finite here or tangible, no gladness in the beauty of girlish foreheads or the swiftness of a young man"s limbs, no simple idealisation of natural delightfulness.
The human body, which the figurative arts must needs use as the vehicle of their expression, had ceased to have a value in and for itself, had ceased to be the true and adequate invest.i.ture of thoughts demanded from the artist. At best it could be taken only as the symbol of some inner meaning, the shrine of an indwelling spirit n.o.bler than itself; just as a lamp of alabaster owes its beauty and its worth to the flame it more than half conceals, the light transmitted through its scarce transparent walls.
In ancient art those moral and spiritual qualities which the Greeks recognised as truly human and therefore divine, allowed themselves to be incarnated in well-selected types of physical perfection. The deities of the Greek mythology were limited to the conditions of natural existence: they were men and women of a larger mould and freer personality; less complex, inasmuch as each completed some one attribute; less thwarted in activity, inasmuch as no limit was a.s.signed to exercise of power. The pa.s.sions and the faculties of man, a.n.a.lysed by unconscious psychology, and deified by religious fancy, were invested by sculpture with appropriate forms, the tact of the artist selecting corporeal qualities fitted to impersonate the special character of each divinity. Nor was it possible that, the G.o.ds and G.o.ddesses being what they were, exact a.n.a.logues should not be found for them in idealised humanity. In a Greek statue there was enough soul to characterise the beauty of the body, to render her due meed of wisdom to Pallas, to distinguish the swiftness of Hermes from the strength of Heracles, or to contrast the virginal grace of Artemis with the abundance of Aphrodite"s charms. At the same time the spirituality that gave its character to each Greek deity, was not such that, even in thought, it could be dissociated from corporeal form. The Greeks thought their G.o.ds as incarnate persons; and all the artist had to see to, was that this incarnate personality should be impressive in his marble.
Christianity, on the other hand, made the moral and spiritual nature of man all-essential. It sprang from an earlier religion, that judged it impious to give any form to G.o.d. The body and its terrestrial activity occupied but a subordinate position in its system. It was the life of the soul, separable from this frame of flesh, and destined to endure when earth and all that it contains had ended--a life that upon this planet was continued conflict and aspiring struggle--which the arts, insofar as they became its instrument, were called upon to ill.u.s.trate. It was the worship of a Deity, all spirit, to be sought on no one sacred hill, to be adored in no transcendent shape, that they were bound to heighten. The most highly prized among the Christian virtues had no necessary connection with beauty of feature or strength of limb. Such beauty and such strength at any rate were accidental, not essential. A Greek faun could not but be graceful; a Greek hero was of necessity vigorous. But S. Stephen might be steadfast to the death without physical charm; S. Anthony might put to flight the devils of the flesh without muscular force. It is clear that the radiant physical perfection proper to the deities of Greek sculpture was not sufficient in this sphere.
Again, the most stirring episodes of the Christian mythology involved pain and perturbation of the spirit; the victories of the Christian athletes were won in conflicts carried on within their hearts and souls--"For we wrestle not against flesh and blood, but against princ.i.p.alities and powers," demoniac leaders of spiritual legions. It is, therefore, no less clear that the tranquillity and serenity of the h.e.l.lenic ideal, so necessary to consummate sculpture, was here out of place. How could the Last Judgment, that day of wrath, when every soul, however insignificant on earth, will play the first part for one moment in an awful tragedy, be properly expressed in plastic form, harmonious and pleasing? And supposing that the artist should abandon the attempt to exclude ugliness and discord, pain and confusion, from his representation of the _Dies Irae_, how could he succeed in setting forth by the sole medium of the human body the anxiety and anguish of the soul at such a time? The physical form, instead of being adequate to the ideas expressed, and therefore helpful to the artist, is a positive embarra.s.sment, a source of weakness.
The most powerful pictorial or sculpturesque delineation of the Judgment, when compared with the pangs inflicted on the spirit by a guilty conscience, pangs whereof words may render some account, but which can find no a.n.a.logue in writhings of the limbs or face, must of necessity be found a failure. Still more impossible, if we pursue this train of thought into another region, is it for the figurative arts to approach the Christian conception of G.o.d in His omnipotence and unity. Christ Himself, the central figure of the Christian universe, the desired of all nations, in whom the Deity a.s.sumed a human form and dwelt with men, is no fit subject for such art at any rate as the Greeks had perfected. The fact of His incarnation brought Him indeed within the proper sphere of the fine arts; but the religious idea which He represents removed Him beyond the reach of sculpture. This is an all-important consideration. It is to this that our whole argument is tending. Therefore to enlarge upon this point will not be useless.
Christ is specially adored in His last act of love on Calvary; and how impossible it is to set that forth consistently with the requirements of strictly plastic art, may be gathered by comparing the pa.s.sion of S.
Bernard"s Hymn to our Lord upon the Cross with all that Winckelmann and Hegel have so truly said about the restrained expression, dignified generality, and harmonious beauty essential to sculpture. It is the negation of tranquillity, the excess of feeling, the absence of comeliness, the contrast between visible weakness and invisible omnipotence, the physical humiliation voluntarily suffered by Him that "ruled over all the angels, that walked on the pavements of heaven, whose feet were clothed with stars"--it is all this that gives their force and pathos to these stanzas:
Omnis vigor atque viror Hinc recessit; non admiror: Mors apparet in inspectu, Totus pendens in defectu, Attritus aegra macie.
Sic affectus, sic despectus, Propter me sic interfectus, Peccatori tam indigno c.u.m amoris in te signo Appare clara facie[3].
We have never heard that Pheidias or Praxiteles chose Prometheus upon Caucasus for the supreme display of his artistic skill; and even the anguish expressed in the group of the Laoc.o.o.n is justly thought to violate the laws of antique sculpture. Yet here was a greater than Prometheus--one who had suffered more, and on whose suffering the salvation of the human race depended, to exclude whom from the sphere of representation in art was the same as confessing the utter impotence of art to grasp the vital thought of modern faith. It is clear that the muses of the new age had to haunt Calvary instead of Helicon, slaking their thirst at no Castalian spring, but at the fount of tears outpoured by all creation for a stricken G.o.d. What h.e.l.las had achieved supplied no norm or method for the arts in this new service.
From what has. .h.i.therto been advanced, we may a.s.sert with confidence that, if the arts were to play an important part in Christian culture, an art was imperatively demanded that should be at home in the sphere of intense feeling, that should treat the body as the interpreter and symbol of the soul, and should not shrink from pain and pa.s.sion. How far the fine arts were at all qualified to express the essential thoughts of Christianity--a doubt suggested in the foregoing paragraphs--and how far, through their proved inadequacy to perform this task completely, they weakened the hold of mediaeval faiths upon the modern mind, are questions to be raised hereafter. For the present it is enough to affirm that, least of all the arts, could sculpture, with its essential repose and its dependence on corporeal conditions, solve the problem. Sculpture had suited the requirements of Greek thought. It belonged by right to men who not unwillingly accepted the life of this world as final, and who worshipped in their deities the incarnate personality of man made perfect. But it could not express the cycle of Christian ideas. The desire of a better world, the fear of a worse; the sense of sin referred to physical appet.i.tes, and the corresponding mortification of the flesh; hope, ecstasy, and penitence and prayer; all these imply contempt or hatred for the body, suggest notions too spiritual to be conveyed by the rounded contours of beautiful limbs, too full of struggle for statuesque tranquillity. The new element needed a more elastic medium of expression.
Motives more varied, gradations of sentiment more delicate, the fugitive and transient phases of emotion, the inner depths of consciousness, had somehow to be seized. It was here that painting a.s.serted its supremacy.
Painting is many degrees further removed than sculpture from dependence on the body in the fulness of its physical proportions. It touches our sensibilities by suggestions more indirect, more mobile, and more multiform. Colour and shadow, aerial perspective and complicated grouping, denied to sculpture, but within the proper realm of painting, have their own significance, their real relation to feelings vaguer, but not less potent, than those which find expression in the simple human form. To painting, again, belongs the play of feature, indicative of internal movement, through a whole gamut of modulations inapprehensible by sculpture. All that drapery by its partial concealment of the form it clothes, and landscape by its sympathies with human sentiment, may supply to enhance the pa.s.sion of the spectator, pertains to painting. This art, therefore, owing to the greater variety of means at its disposal, and its greater adequacy to express emotion, became the paramount Italian art.
To sculpture in the Renaissance, shorn of the divine right to create G.o.ds and heroes, was left the narrower field of decoration, portraiture, and sepulchral monuments. In the last of these departments it found the n.o.blest scope for its activity; for beyond the grave, according to Christian belief, the account of the striving, hoping, and resisting soul is settled. The corpse upon the bier may bear the stamp of spiritual character impressed on it in life; but the spirit, with its struggle and its pa.s.sion, has escaped as from a prison-house, and flown else-whither.
The body of the dead man, for whom this world is over, and who sleeps in peace, awaiting resurrection, and thereby not wholly dead, around whose tomb watch sympathising angels or contemplative genii, was, therefore, the proper subject for the highest Christian sculpture. Here, if anywhere, the right emotion could be adequately expressed in stone, and the moulded form be made the symbol of repose, expectant of restored activity. The greatest sculptor of the modern age was essentially a poet of Death.
Painting, then, for the reasons already a.s.signed and insisted on, was the art demanded by the modern intellect upon its emergence from the stillness of the Middle Ages. The problem, however, even for the art of painting was not simple. The painters, following the masters of mosaic, began by setting forth the history, mythology, and legends of the Christian Church in imagery freer and more beautiful than lay within the scope of treatment by Romanesque or Byzantine art. So far their task was comparatively easy; for the idyllic grace of maternal love in the Madonna, the pathetic incidents of martyrdom, the courage of confessors, the ecstasies of celestial joy in redeemed souls, the loveliness of a pure life in modest virgins, and the dramatic episodes of sacred story, furnish a mult.i.tude of motives admirably pictorial. There was, therefore, no great obstacle upon the threshold, so long as artists gave their willing service to the Church. Yet, looking back upon this phase of painting, we are able to perceive that already the adaptation of art to Christian dogma entailed concessions on both sides. Much, on the one hand, had to be omitted from the programme offered to artistic treatment, for the reason that the fine arts could not deal with it at all. Much, on the other hand, had to be expressed by means which painting in a state of perfect freedom would repudiate. Allegorical symbols, like Prudence with two faces, and painful episodes of agony and anguish, marred her work of beauty. There was consequently a double compromise, involving a double sacrifice of something precious. The faith suffered by having its mysteries brought into the light of day, incarnated in form, and humanised. Art suffered by being forced to render intellectual abstractions to the eye through figured symbols.
As technical skill increased, and as beauty, the proper end of art, became more rightly understood, the painters found that their craft was worthy of being made an end in itself, and that the actualities of life observed around them had claims upon their genius no less weighty than dogmatic mysteries. The subjects they had striven at first to realise with all simplicity now became little better than vehicles for the display of sensuous beauty, science, and mundane pageantry. The human body received separate and independent study, as a thing in itself incomparably beautiful, commanding more powerful emotions by its magic than aught else that sways the soul. At the same time the external world, with all its wealth of animal and vegetable life, together with the works of human ingenuity in costly clothing and superb buildings, was seen to be in every detail worthy of most patient imitation. Anatomy and perspective taxed the understanding of the artist, whose whole force was no longer devoted to the task of bringing religious ideas within the limits of the representable. Next, when the cla.s.sical revival came into play, the arts, in obedience to the spirit of the age, left the sphere of sacred subjects, and employed their full-grown faculties in the domain of myths and Pagan fancies. In this way painting may truly be said to have opened the new era of culture, and to have first manifested the freedom of the modern mind.
When Luca Signorelli drew naked young men for a background to his picture of Madonna and the infant Christ, he created for the student a symbol of the att.i.tude a.s.sumed by fine art in its liberty of outlook over the whole range of human interests. Standing before this picture in the Uffizzi, we feel that the Church, while hoping to adorn her cherished dogmas with aesthetic beauty, had encouraged a power antagonistic to her own, a power that liberated the spirit she sought to enthral, restoring to mankind the earthly paradise from which monasticism had expelled it.
Not to diverge at this point, and to entertain the difficult problem of the relation of the fine arts to Christianity, would be to shrink from the most th.o.r.n.y question offered to the understanding by the history of the Renaissance. On the very threshold of the matter I am bound to affirm my conviction that the spiritual purists of all ages--the Jews, the iconoclasts of Byzantium, Savonarola, and our Puritan ancestors--were justified in their mistrust of plastic art. The spirit of Christianity and the spirit of figurative art are opposed, not because such art is immoral, but because it cannot free itself from sensuous a.s.sociations[4]. It is always bringing us back to the dear life of earth, from which the faith would sever us. It is always reminding us of the body which piety bids us to forget. Painters and sculptors glorify that which saints and ascetics have mortified. The masterpieces of t.i.tian and Correggio, for example, lead the soul away from compunction, away from penitence, away from worship even, to dwell on the delight of youthful faces, blooming colour, graceful movement, delicate emotion[5]. Nor is this all: religious motives may be misused for what is worse than merely sensuous suggestiveness. The masterpieces of the Bolognese and Neapolitan painters, while they pretend to quicken compa.s.sion for martyrs in their agony, pander to a b.e.s.t.i.a.l blood-l.u.s.t lurking in the darkest chambers of the soul[6]. Therefore it is that piety, whether the piety of monastic Italy or of Puritan England, turns from these aesthetic triumphs as from something alien to itself. When the worshipper would fain ascend on wings of ecstasy to G.o.d, the infinite, ineffable, unrealised, how can he endure the contact of those splendid forms, in which the l.u.s.t of the eye and the pride of life, professing to subserve devotion, remind him rudely of the goodliness of sensual existence? Art, by magnifying human beauty, contradicts these Pauline maxims: "For me to live is Christ, and to die is gain;" "Set your affections on things above, not on things on earth;" "Your life is hid with Christ in G.o.d." The sublimity and elevation it gives to carnal loveliness are themselves hostile to the spirit that holds no truce or compromise of traffic with the flesh. As displayed in its most perfect phases, in Greek sculpture and Venetian painting, art dignifies the actual mundane life of man; but Christ, in the language of uncompromising piety, means everything most alien to this mundane life--self-denial, abstinence from fleshly pleasure, the waiting for true bliss beyond the grave, seclusion even from social and domestic ties. "He that loveth father and mother more than me, is not worthy of me," "He that taketh not his cross and followeth me, is not worthy of me." It is needful to insist upon these extremest sentences of the New Testament, because upon them was based the religious practice of the Middle Ages, more sincere in their determination to fulfil the letter and embrace the spirit of the Gospel than any succeeding age has been.[7]
If, then, there really exists this antagonism between fine art glorifying human life and piety contemning it, how came it, we may ask, that even in the Middle Ages the Church hailed art as her coadjutor? The answer lies in this, that the Church has always compromised. The movement of the modern world, upon the close of the Middle Ages, offered the Church a compromise, which it would have been difficult to refuse, and in which she perceived art first no peril to her dogmas. When the conflict of the first few centuries of Christianity had ended in her triumph, she began to mediate between asceticism and the world. Intent on absorbing all existent elements of life and power, she conformed her system to the Roman type, established her service in basilicas and Pagan temples, adopted portions of the antique ritual, and converted local genii into saints. At the same time she utilised the spiritual forces of monasticism, and turned the mystic impulse of ecstatics to account. The Orders of the Preachers and the Begging Friars became her militia and police; the mystery of Christ"s presence in the Eucharist was made an engine of the priesthood; the dreams of Paradise and Purgatory gave value to her pardons, interdictions, jubilees, indulgences, and curses. In the Church the spirit of the cloister and the spirit of the world found neutral ground, and to the practical accommodation between these hostile elements she owed her wide supremacy. The Christianity she formed and propagated was different from that of the New Testament, inasmuch as it had taken up into itself a ma.s.s of mythological anthropomorphic elements. Thus trans.m.u.ted and materialised, thus accepted by the vivid faith of an unquestioning populace, Christianity offered a proper medium for artistic activity. The whole first period of Italian painting was occupied with the endeavour to set forth in form and colour the popular conceptions of a faith at once unphilosophical and unspiritual, beautiful and fit for art by reason of the human elements it had a.s.sumed into its substance. It was natural, therefore, that the Church should show herself indulgent to the arts, which were effecting in their own sphere what she had previously accomplished, though purists and ascetics, holding fast by the original spirit of their creed, might remain irreconcilably antagonistic to their influence. The Reformation, on the contrary, rejecting the whole ma.s.s of compromises sanctioned by the Church, and returning to the elemental principles of the faith, was no less naturally opposed to fine arts, which, after giving sensuous form to Catholic mythology, had recently attained to liberty and brought again the G.o.ds of Greece.
A single ill.u.s.tration might be selected from the annals of Italian painting to prove how difficult even the holiest-minded and most earnest painter found it to effect the proper junction between plastic beauty and pious feeling. Fra Bartolommeo, the disciple of Savonarola, painted a Sebastian in the cloister of S. Marco, where it remained until the Dominican confessors became aware, through the avowals of female penitents, that this picture was a stumbling-block and snare to souls. It was then removed, and what became of it we do not know for certain. Fra Bartolommeo undoubtedly intended this ideal portrait of the martyr to be edifying. S. Sebastian was to stand before the world as the young man, strong and beautiful, who endured to the end and won the crown of martyrdom. No other ideas but those of heroism, constancy, or faith were meant to be expressed; but the painter"s art demanded that their expression should be eminently beautiful, and the beautiful body of the young man distracted attention from his spiritual virtues to his physical perfections. A similar maladjustment of the means of plastic art to the purposes of religion would have been impossible in h.e.l.las, where the temples of Eros and of Phoebus stood side by side; but in Christian Florence the craftsman"s skill sowed seeds of discord in the souls of the devout[8].
This story is but a coa.r.s.e instance of the separation between piety and plastic art. In truth, the difficulty of uniting them in such a way that the latter shall enforce the former, lies far deeper than its powers of ill.u.s.tration reach. Religion has its proper end in contemplation and in conduct. Art aims at presenting sensuous embodiment of thoughts and feelings with a view to intellectual enjoyment. Now, many thoughts are incapable of sensuous embodiment; they appear as abstractions to the philosophical intellect or as dogmas to the theological understanding. To effect an alliance between art and philosophy or art and theology in the specific region of either religion or speculation is, therefore, an impossibility. In like manner there are many feelings which cannot properly a.s.sume a sensuous form; and these are precisely religious feelings, in which the soul abandons sense, and leaves the actual world behind, to seek her freedom in a spiritual region.[9] Yet, while we recognise the truth of this reasoning, it would be unscientific to maintain that, until they are brought into close and inconvenient contact, there is direct hostility between religion and the arts. The sphere of the two is separate; their aims are distinct; they must be allowed to perfect themselves, each after its own fashion. In the large philosophy of human nature, represented by Goethe"s famous motto, there is room for both, because those who embrace it bend their natures neither wholly to the pietism of the cloister nor to the sensuality of art. They find the meeting-point of art and of religion in their own humanity, and perceive that the antagonism of the two begins when art is set to do work alien to its nature, and to minister to what it does not naturally serve.
At the risk of repet.i.tion I must now resume the points I have attempted to establish in this chapter. As in ancient Greece, so also in Renaissance Italy, the fine arts a.s.sumed the first place in the intellectual culture of the nation. But the thought and feeling of the modern world required an aesthetic medium more capable of expressing emotion in its intensity, variety, and subtlety than sculpture. Therefore painting was the art of arts for Italy. Yet even painting, notwithstanding the range and wealth of its resources, could not deal with the motives of Christianity so successfully as sculpture with the myths of Paganism. The religion it interpreted transcended the actual conditions of humanity, while art is bound down by its nature to the limitations of the world we live in. The Church imagined art would help her; and within a certain sphere of subjects, by vividly depicting Scripture histories and the lives of saints, by creating new types of serene beauty and pure joy, by giving form to angelic beings, by interpreting Mariolatry in all its charm and pathos, and by rousing deep sympathy with our Lord in His Pa.s.sion, painting lent efficient aid to piety. Yet painting had to omit the very pith and kernel of Christianity as conceived by devout, uncompromising purists. Nor did it do what the Church would have desired. Instead of riveting the fetters of ecclesiastical authority, instead of enforcing mysticism and asceticism, it really restored to humanity the sense of its own dignity and beauty, and helped to proved the untenability of the mediaeval standpoint; for art is essentially and uncontrollably free, and, what is more, is free precisely in that realm of sensuous delightfulness from which cloistral religion turns aside to seek her own ecstatic liberty of contemplation.