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not scruple to say they would not only receive no advantage, but would lose, in a great measure, the effect which they now have on every mind susceptible of great and noble ideas. His works may be said to be all genius and soul; and why should they be loaded with heavy matter, which can only counteract his purpose by retarding the progress of the imagination ?
If this opinion should be thought one of the wild extravagances of enthusiasm, I shall only say, that those who censure it are not conversant in the works of the great masters. It is very difficult to determine the exact degree of enthusiasm that the arts of painting and poetry may admit. There may perhaps be too great an indulgence, as well as too great a restraint of imagination; and if the one produces incoherent monsters, the other produces what is full as bad, lifeless insipidity. An intimate knowledge of the passions, and good sense, but not common sense, must at last determine its limits. It has been thought, and I believe with reason, that Michael Angelo sometimes transgressed those limits; and I think I have seen figures of him, of which it was very difficult to determine whether they were in the highest degree sublime or extremely ridiculous. Such faults may be said to be the ebullitions of genius; but at least he had this mcrit, that he never was insipid; and whatever passion his works may excite, they will always escape contempt.
What I have had under consideration is the sublimest style, particularly that of Michael Angelo, the Homer of painting. Other kinds may admit of this naturalness, which of the lowest kind is the chief merit; but in painting, as in poetry, the highest style has the least of common nature.
One may very safely recommend a little more enthusiasm to the modern painters; too much is certainly not the vice of the present age. The Italians seem to have been continually declining in this respect from the time Michael Angelo to that of Carlo Maratti, and from thence to the very bathos of insipidity to which they are now sunk; so that there is no need of remarking, that where I mentioned the Italian painters in opposition to the Dutch, I mean not the moderns, but the heads of the old Roman and Bolognian schools; nor did I mean to include in my idea of an Italian painter, the Venetian school, which may be said to be the Dutch part of the Italian genius. I have only to add a word of advice to the painters, that, however excellent they may be in painting naturally, they would not flatter themselves very much upon it; and to the connoisseurs, that when they see a cat or fiddle painted so finely, that, as the phrase is, it looks as if you could take it us, they would not for that reason immediately compare the painter to Raffaelle and Michael Angelo".
No. 80. SATURDAY, OCTOBER 27, 1759.
I HAT every day has its pains and sorrows is universally experienced, and almost universally confessed: but let us not attend only to mournful truths; if we
look impartially about us, we shall find that every day has likewise its pleasures and its joys. The time is now come when the town is again beginning to be full, and the rusticated beauty sees an end of her banishment. Those whom the tyranny of fashion had condemned to pass the summer among shades and brooks, are now preparing to return to plays, balls, and assemblies, with health restored by retirement, and spirits kindled by expectation. Many a mind, which has languished some months without emotion or desire, now feels a sudden renovation of its faculties. It was long ago observed by Pythagoras, that ability and necessity dwell near each other. She that wandered in the garden without sense of its fragrance, and lay day after day stretched upon a couch behind a green curtain, unwilling to wake, and unable to sleep, now summons her thoughts to consider which of her last year's clothes shall be seen again, and to anticipate the raptures of a new suit; the day and the night are now filled with occupation; the laces which were too fine to be worn among rusticks, are taken from the boxes and reviewed; and the eye is no sooner closed after its labours, than whole shops of silk busy the fancy. But happiness is nothing if it is not known, and very little if it is not envied. Before the day of departure a week is always appropriated to the payment and reception of ceremonial visits, at which nothing can be mentioned but the delights of London. The lady who is hastening to the scene of action flutters her wings, displays her prospects of felicity, tells how she grudges every moment of delay, and, in the presence of those whom she knows condemned to stay at home, is sure to wonder by what arts life can be made supportable through a winter in the country, and to tell how often, amidst the ecstasies of an opera, she shall pity those friends whom she has left behind. Her hope of giving pain is seldom disappointed : the affected indifference of one, the faint congratulations of another, the wishes of some openly confessed, and the silent dejection of the rest, all exalt her opinion of her own superiority. But, however we may labour for our own deception, truth, though unwelcome, will sometimes intrude upon the mind. They who have already enjoyed the crowds and noise of the great city, know that their desire to return is little more than the restlessness of a vacant mind, that they are not so much led by hope as driven by disgust, and wish rather to leave the country than to see the town. There is commonly in every coach a passenger enwrapped in silent expectation, whose joy is more sincere and whose hopes are more exalted. The virgin whom the last summer released from her governess, and who is now going between her mother and her aunt to try the fortune of her wit and beauty, suspects no fallacy in the gay representation. She believes herself passing into another world, and images London as an elysian region, where every hour has its proper pleasure, where nothing is seen but the blaze of wealth, and nothing heard but merriment and flattery; where the morning always rises on a show, and the evening closes on a ball; where the eyes are used only to sparkle, and the feet only to dance. Her aunt and her mother amuse themselves on the road with telling her of dangers to be dreaded, and cautions to be observed. She hears them as they heard their predecessors, with incredulity or contempt. She sees that they have ventured and escaped; and one of the pleasures which she promises herself is to detect their falsehoods, and be freed from their admonitions. We are inclined to believe those whom we do not know, because they have never deceived us. The fair adventurer may perhaps listen to the Idler, whom she cannot suspect of rivalry or malice; yet he scarcely expects to be credited when he tells her, that her expectations will likewise end in disappointment. The uniform necessities of human nature produce in a great measure uniformity of life, and for part of the day make one place like another: to dress and to undress, to eat and to sleep, are the same in London as in the country. The supernumerary hours have indeed a great variety both of pleasure and of pain. The stranger, gazed on by multitudes at her first appearance in the Park, is perhaps on the highest summit of female happiness; but how great is the anguish when the novelty of another face draws her worshippers away ! The heart may leap for a time under a fine gown ; but the sight of a gown yet finer puts an end to rapture. In the first row at an opera, two hours may be happily passed in listening to the musick on the stage, and watching the glances of the company; but how will the night end in despondency, when she that imagined herself the sovereign of the place, sees lords contending to lead Iris to her chair! There is little pleasure in conversation, to her whose wit is regarded but in the second place; and who can dance with ease or spirit that sees Amaryllis led out before her? She that fancied nothing but a succession of pleasures, will find herself engaged without design in numberless competitions, and mortified without provocation with numberless afflictions.