Many Most Noble Statues, And
Wonderful Pictures, Are There; Nor Is It Heresy To Say That There
Is A Considerable Amount Of Rubbish There, Too.
When any old piece
of sculpture dug out of the ground, finds a place in a gallery
because it is old, and without any reference to its intrinsic
merits:
And finds admirers by the hundred, because it is there,
and for no other reason on earth: there will be no lack of
objects, very indifferent in the plain eyesight of any one who
employs so vulgar a property, when he may wear the spectacles of
Cant for less than nothing, and establish himself as a man of taste
for the mere trouble of putting them on.
I unreservedly confess, for myself, that I cannot leave my natural
perception of what is natural and true, at a palace-door, in Italy
or elsewhere, as I should leave my shoes if I were travelling in
the East. I cannot forget that there are certain expressions of
face, natural to certain passions, and as unchangeable in their
nature as the gait of a lion, or the flight of an eagle. I cannot
dismiss from my certain knowledge, such commonplace facts as the
ordinary proportion of men's arms, and legs, and heads; and when I
meet with performances that do violence to these experiences and
recollections, no matter where they may be, I cannot honestly
admire them, and think it best to say so; in spite of high critical
advice that we should sometimes feign an admiration, though we have
it not.
Therefore, I freely acknowledge that when I see a jolly young
Waterman representing a cherubim, or a Barclay and Perkins's
Drayman depicted as an Evangelist, I see nothing to commend or
admire in the performance, however great its reputed Painter.
Neither am I partial to libellous Angels, who play on fiddles and
bassoons, for the edification of sprawling monks apparently in
liquor. Nor to those Monsieur Tonsons of galleries, Saint Francis
and Saint Sebastian; both of whom I submit should have very
uncommon and rare merits, as works of art, to justify their
compound multiplication by Italian Painters.
It seems to me, too, that the indiscriminate and determined
raptures in which some critics indulge, is incompatible with the
true appreciation of the really great and transcendent works. I
cannot imagine, for example, how the resolute champion of
undeserving pictures can soar to the amazing beauty of Titian's
great picture of the Assumption of the Virgin at Venice; or how the
man who is truly affected by the sublimity of that exquisite
production, or who is truly sensible of the beauty of Tintoretto's
great picture of the Assembly of the Blessed in the same place, can
discern in Michael Angelo's Last Judgment, in the Sistine chapel,
any general idea, or one pervading thought, in harmony with the
stupendous subject. He who will contemplate Raphael's masterpiece,
the Transfiguration, and will go away into another chamber of that
same Vatican, and contemplate another design of Raphael,
representing (in incredible caricature) the miraculous stopping of
a great fire by Leo the Fourth--and who will say that he admires
them both, as works of extraordinary genius--must, as I think, be
wanting in his powers of perception in one of the two instances,
and, probably, in the high and lofty one.
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