Modern Painters Volume II Part 11

Herbert,[36] that many plants are found alone on a certain soil or subsoil in a wild state, not because such soil is favorable to them, but because they alone are capable of existing on it, and because all dangerous rivals are by its inhospitality removed. Now if we withdraw the plant from this position, which it hardly endures, and supply it with the earth, and maintain about it the temperature that it delights in; withdrawing from it at the same time all rivals which, in such conditions nature would have thrust upon it, we shall indeed obtain a magnificently developed example of the plant, colossal in size, and splendid in organization, but we shall utterly lose in it that moral ideal which is dependent on its right fulfilment of its appointed functions. It was intended and created by the Deity for the covering of those lonely spots where no other plant could live; it has been thereto endowed with courage, and strength, and capacities of endurance unequalled; its character and glory are not therefore in the gluttonous and idle feeling of its own over luxuriance, at the expense of other creatures utterly destroyed and rooted out for its good alone, but in its right doing of its hard duty; and forward climbing into those spots of forlorn hope where it alone can bear witness to the kindness and presence of the Spirit that cutteth out rivers among the rocks, as it covers the valleys with corn: and there, in its vanward place, and only there, where nothing is withdrawn for it, nor hurt by it, and where nothing can take part of its honor, nor usurp its throne, are its strength, and fairness, and price, and goodness in the sight of G.o.d, to be truly esteemed.

-- 11. Instance in the Soldanella and Ranunculus.

The first time that I saw the soldanella alpina, before spoken of, it was growing, of magnificent size, on a sunny Alpine pasture, among bleating of sheep and lowing of cattle, a.s.sociated with a profusion of geum montanum, and ranunculus pyrenaeus. I noticed it only because new to me, nor perceived any peculiar beauty in its cloven flower. Some days after, I found it alone, among the rack of the higher clouds, and howling of glacier winds, and, as I described it, piercing through an edge of avalanche, which in its retiring had left the new ground brown and lifeless, and as if burned by recent fire; the plant was poor and feeble, and seemingly exhausted with its efforts, but it was then that I comprehended its ideal character, and saw its n.o.ble function and order of glory among the constellations of the earth.

The ranunculus glacialis might perhaps, by cultivation, be blanched from its wan and corpse-like paleness to purer white, and won to more branched and lofty development of its ragged leaves. But the ideal of the plant is to be found only in the last, loose stones of the moraine, alone there; wet with the cold, unkindly drip of the glacier water, and trembling as the loose and steep dust to which it clings yields ever and anon, and shudders and crumbles away from about its root.

-- 12. The beauty of repose and felicity, how consistent with such ideal.

And if it be asked how this conception of the utmost beauty of ideal form is consistent with what we formerly argued respecting the pleasantness of the appearance of felicity in the creature, let it be observed, and forever held, that the right and true happiness of every creature, is in this very discharge of its function, and in those efforts by which its strength and inherent energy are developed: and that the repose of which we also spoke as necessary to all beauty, is, as was then stated, repose not of inanition, nor of luxury, nor of irresolution, but the repose of magnificent energy and being; in action, the calmness of trust and determination; in rest, the consciousness of duty accomplished and of victory won, and this repose and this felicity can take place as well in the midst of trial and tempest, as beside the waters of comfort; they perish only when the creature is either unfaithful to itself, or is afflicted by circ.u.mstances unnatural and malignant to its being, and for the contending with which it was neither fitted nor ordained. Hence that rest which is indeed glorious is of the chamois couched breathless on his granite bed, not of the stalled ox over his fodder, and that happiness which is indeed beautiful is in the bearing of those trial tests which are appointed for the proving of every creature, whether it be good, or whether it be evil; and in the fulfilment to the uttermost of every command it has received, and the out-carrying to the uttermost of every power and gift it has gotten from its G.o.d.

-- 13. The ideality of Art.

Therefore the task of the painter in his pursuit of ideal form is to attain accurate knowledge, so far as may be in his power, of the character, habits, and peculiar virtues and duties of every species of being; down even to the stone, for there is an ideality of stones according to their kind, an ideality of granite and slate and marble, and it is in the utmost and most exalted exhibition of such individual character, order, and use, that all ideality of art consists. The more cautious he is in a.s.signing the right species of moss to its favorite trunk, and the right kind of weed to its necessary stone, in marking the definite and characteristic leaf, blossom, seed, fracture, color, and inward anatomy of everything, the more truly ideal his work becomes. All confusion of species, all careless rendering of character, all unnatural and arbitrary a.s.sociation, is vulgar and unideal in proportion to its degree.

-- 14. How connected with the imaginative faculties.

It is to be noted, however, that nature sometimes in a measure herself conceals these generic differences, and that when she displays them it is commonly on a scale too small for human hand to follow.

The pursuit and seizure of the generic differences in their concealment, and the display of them on a larger and more palpable scale, is one of the wholesome and healthy operations of the imagination of which we are presently to speak.[37]

Generic differences being commonly exhibited by art in different manner and way from that of their natural occurrence, are in this respect more strictly and truly ideal in art than in reality.

-- 15. Ideality, how belonging to ages and conditions.

This only remains to be noted, that, of all creatures whose existence involves birth, progress, and dissolution, ideality is predicable all through their existence, so that they be perfect with reference to their supposed period of being. Thus there is an ideal of infancy, of youth, of old age, of death, and of decay. But when the ideal form of the species is spoken of or conceived in general terms, the form is understood to be of that period when the generic attributes are perfectly developed, and previous to the commencement of their decline.

At which period all the characters of vital and typical beauty are commonly most concentrated in them, though the arrangement and proportion of these characters varies at different periods, youth having more of the vigorous beauty, and age of the reposing; youth of typical outward fairness, and age of expanded and etherealized moral expression; the babe, again, in some measure atoning in gracefulness for its want of strength, so that the balanced glory of the creature continues in solemn interchange, perhaps even

"Filling more and more with crystal light, As pensive evening deepens into night."

Hitherto, however, we have confined ourselves to the examination of ideal form in the lower animals, and we have found that, to arrive at it, no combination of forms nor exertion of fancy is required, but only simple choice among those naturally presented, together with careful investigation and anatomizing of the habits of the creatures. I fear we shall arrive at a very different conclusion, in considering the ideal form of man.

FOOTNOTES

[35] I speak not here of those conditions of vegetation which have especial reference to man, as of seeds and fruits, whose sweetness and farina seem in great measure given, not for the plant's sake, but for his, and to which therefore the interruption in the harmony of creation of which he was the cause is extended, and their sweetness and larger measure of good to be obtained only by his redeeming labor. His curse has fallen on the corn and the vine, and the wild barley misses of its fulness, that he may eat bread by the sweat of his brow.

[36] Journal of the Horticultural Society. Part I.

[37] Compare Sect. II. Chap. IV.

CHAPTER XIV.

OF VITAL BEAUTY.--THIRDLY, IN MAN.

-- 1. Condition of the human creature entirely different from that of the lower animals.

Having thus pa.s.sed gradually through all the orders and fields of creation, and traversed that goodly line of G.o.d's happy creatures who "leap not, but express a feast, where all the guests sit close, and nothing wants," without finding any deficiency which human invention might supply, nor any harm which human interference might mend, we come at last to set ourselves face to face with ourselves, expecting that in creatures made after the image of G.o.d we are to find comeliness and completion more exquisite than in the fowls of the air and the things that pa.s.s through the paths of the sea.

But behold now a sudden change from all former experience. No longer among the individuals of the race is there equality or likeness, a distributed fairness and fixed type visible in each, but evil diversity, and terrible stamp of various degradation; features seamed with sickness, dimmed by sensuality, convulsed by pa.s.sion, pinched by poverty, shadowed by sorrow, branded with remorse; bodies consumed with sloth, broken down by labor, tortured by disease, dishonored in foul uses; intellects without power, hearts without hope, minds earthly and devilish; our bones full of the sin of our youth, the heaven revealing our iniquity, the earth rising up against us, the roots dried up beneath, and the branch cut off above; well for us only, if, after beholding this our natural face in a gla.s.s, we desire not straightway to forget what manner of men we be.

-- 2. What room here for idealization.

Herein there is at last something, and too much, for that short stopping intelligence and dull perception of ours to accomplish, whether in earnest fact, or in the seeking for the outward image of beauty:--to undo the devil's work, to restore to the body the grace and the power which inherited disease has destroyed, to return to the spirit the purity, and to the intellect the grasp that they had in Paradise. Now, first of all, this work, be it observed is in no respect a work of imagination. Wrecked we are, and nearly all to pieces; but that little good by which we are to redeem ourselves is to be got out of the old wreck, beaten about and full of sand though it be; and not out of that desert island of pride on which the devils split first, and we after them: and so the only restoration of the body that we can reach is not to be coined out of our fancies, but to be collected out of such uninjured and bright vestiges of the old seal as we can find and set together, and so the ideal of the features, as the good and perfect soul is seen in them, is not to be reached by imagination, but by the seeing and reaching forth of the better part of the soul to that of which it must first know the sweetness and goodness in itself, before it can much desire, or rightly find, the signs of it in others.

I say much desire and rightly find, because there is not any soul so sunk but that it shall in some measure feel the impression of mental beauty in the human features, and detest in others its own likeness, and in itself despise that which of itself it has made.

-- 3. How the conception of the bodily ideal is reached.

Now, of the ordinary process by which the realization of ideal bodily form is reached, there is explanation enough in all treatises on art, and it is so far well comprehended that I need not stay long to consider it. So far as the sight and knowledge of the human form, of the purest race, exercised from infancy constantly, but not excessively in all exercises of dignity, not in twists and straining dexterities, but in natural exercises of running, casting, or riding; practised in endurance, not of extraordinary hardship, for that hardens and degrades the body, but of natural hardship, vicissitudes of winter and summer, and cold and heat, yet in a climate where none of these are severe; surrounded also by a certain degree of right luxury, so as to soften and refine the forms of strength; so far as the sight of all this could render the mental intelligence of what is right in human form so acute as to be able to abstract and combine from the best examples so produced, that which was most perfect in each, so far the Greek conceived and attained the ideal of bodily form: and on the Greek modes of attaining it, as well as on what he produced, as a perfect example of it, chiefly dwell those writers whose opinions on this subject I have collected; wholly losing sight of what seems to me the most important branch of the inquiry, namely, the influence for good or evil of the mind upon the bodily shape, the wreck of the mind itself, and the modes by which we may conceive of its restoration.

-- 4. Modifications of the bodily ideal owing to influence of mind.

First, of intellect.

Now, the operation of the mind upon the body, and evidence of it thereon, may be considered under the following three general heads.

First, the operation of the intellectual powers upon the features, in the fine cutting and chiselling of them, and removal from them of signs of sensuality and sloth, by which they are blunted and deadened, and subst.i.tution of energy and intensity for vacancy and insipidity, (by which wants alone the faces of many fair women are utterly spoiled and rendered valueless,) and by the keenness given to the eye and fine moulding and development to the brow, of which effects Sir Charles Bell has well noted the desirableness and opposition to brutal types, (p. 59, third edition;) only this he has not sufficiently observed, that there are certain virtues of the intellect in measure inconsistent with each other, as perhaps great subtlety with great comprehensiveness, and high a.n.a.lytical with high imaginative power, or that at least, if consistent and compatible, their signs upon the features are not the same, so that the outward form cannot express both, without in a measure expressing neither; and so there are certain separate virtues of the outward form correspondent with the more constant employment or more prevailing capacity of the brain, as the piercing keenness, or open and reflective comprehensiveness of the eye and forehead, and that all these virtues of form are ideal, only those the most so which are the signs of the worthiest powers of intellect, though which these be, we will not at present stay to inquire.

-- 5. Secondly, of the moral feelings.

-- 6. What beauty is bestowed by them

The second point to be considered in the influence of mind upon body, is the mode of operation and conjunction of the moral feelings on and with the intellectual powers, and then their conjoint influence on the bodily form. Now, the operation of the right moral feelings on the intellect is always for the good of the latter, for it is not possible that selfishness should reason rightly in any respect, but must be blind in its estimation of the worthiness of all things, neither anger, for that overpowers the reason or outcries it, neither sensuality, for that overgrows and chokes it, neither agitation, for that has no time to compare things together, neither enmity, for that must be unjust, neither fear, for that exaggerates all things, neither cunning and deceit, for that which is voluntarily untrue will soon be unwittingly so: but the great reasoners are self-command, and trust unagitated, and deep-looking Love, and Faith, which as she is above Reason, so she best holds the reins of it from her high seat: so that they err grossly who think of the right development even of the intellectual type as possible, unless we look to higher sources of beauty first.

Nevertheless, though in their operation _upon_ them the moral feelings are thus elevatory of the mental faculties, yet in their conjunction _with_ them they seem to occupy, in their own fulness, such room as to absorb and overshadow all else, so that the simultaneous exercise of both is in a sort impossible; for which cause we occasionally find the moral part in full development and action, without corresponding expanding of the intellect (though never without healthy condition of it,) as in that of Wordsworth,

"In such high hour Of visitation from the Living G.o.d, Thought was not;"

only I think that if we look far enough, we shall find that it is not intelligence itself, but the immediate act and effort of a laborious, struggling, and imperfect intellectual faculty, with which high moral emotion is inconsistent; and that though we cannot, while we feel deeply, reason shrewdly, yet I doubt if, _except_ when we feel deeply, we can ever comprehend fully; so that it is only the climbing and mole-like piercing, and not the sitting upon their central throne, nor emergence into light, of the intellectual faculties which the full heart feeling allows not. Hence, therefore, in the indications of the countenance, they are only the hard cut lines, and rigid settings, and wasted hollows, that speak of past effort and painfulness of mental application, which are inconsistent with expression of moral feeling, for all these are of infelicitous augury; but not the full and serene development of habitual command in the look, and solemn thought in the brow, only these, in their unison with the signs of emotion, become softened and gradually confounded with a serenity and authority of n.o.bler origin. But of the sweetness which that higher serenity (of happiness,) and the dignity which that higher authority (of Divine law, and not human reason,) can and must stamp on the features, it would be futile to speak here at length, for I suppose that both are acknowledged on all hands, and that there is not any beauty but theirs to which men pay long obedience: at all events, if not by sympathy discovered, it is not in words explicable with what divine lines and lights the exercise of G.o.dliness and charity will mould and gild the hardest and coldest countenance, neither to what darkness their departure will consign the loveliest. For there is not any virtue the exercise of which, even momentarily, will not impress a new fairness upon the features, neither on them only, but on the whole body, both the intelligence and the moral faculties have operation, for even all the movement and gestures, however slight, are different in their modes according to the mind that governs them, and on the gentleness and decision of just feeling there follows a grace of action, and through continuance of this a grace of form, which by no discipline may be taught or attained.

-- 7. How the soul culture interferes harmfully with the bodily ideal.

The third point to be considered with respect to the corporeal expression of mental character is, that there is a certain period of the soul culture when it begins to interfere with some of the characters of typical beauty belonging to the bodily frame, the stirring of the intellect wearing down the flesh, and the moral enthusiasm burning its way out to heaven, through the emaciation of the earthen vessel; and that there is, in this indication of subduing of the mortal by the immortal part, an ideal glory of perhaps a purer and higher range than that of the more perfect material form. We conceive, I think, more n.o.bly of the weak presence of Paul, than of the fair and ruddy countenance of Daniel.

-- 8. The inconsistency among the effects of the mental virtues on the form.