seven discourses on art(艺术七讲座)-第16章
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a history piece is properly a portrait of themselves； whether they describe
the inside or outside of their houses； we have their own people engaged in
their own peculiar occupations； working or drinking； playing or fighting。
The circumstances that enter into a picture of this kind are so far from
giving a general view of human life that they exhibit all the minute
particularities of a nation differing in several respects from the rest of
mankind。 Yet； let them have their share of more humble praise。 The
painters of this school are excellent in their own way； they are only
ridiculous when they attempt general history on their own narrow
principles； and debase great events by the meanness of their characters。
Some inferior dexterity； some extraordinary mechanical power； is
apparently that from which they seek distinction。 Thus； we see； that
school alone has the custom of representing candle…light； not as it really
appears to us by night； but red； as it would illuminate objects to a spectator
by day。 Such tricks； however pardonable in the little style； where petty
effects are the sole end； are inexcusable in the greater； where the attention
should never be drawn aside by trifles； but should be entirely occupied by
the subject itself。
The same local principles which characterise the Dutch school extend
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even to their landscape painters； and Rubens himself； who has painted
many landscapes； has sometimes transgressed in this particular。 Their
pieces in this way are； I think； always a representation of an individual
spot； and each in its kind a very faithful but very confined portrait。
Claude Lorraine； on the contrary； was convinced that taking nature as
he found it seldom produced beauty。 His pictures are a composition of
the various draughts which he has previously made from various beautiful
scenes and prospects。 However； Rubens in some measure has made
amends for the deficiency with which he is charged； he has contrived to
raise and animate his otherwise uninteresting views； by introducing a
rainbow； storm； or some particular accidental effect of light。 That the
practice of Claude Lorraine； in respect to his choice； is to be adopted by
landscape painters； in opposition to that of the Flemish and Dutch schools；
there can be no doubt； as its truth is founded upon the same principle as
that by which the historical painter acquires perfect form。 But whether
landscape painting has a right to aspire so far as to reject what the painters
call accidents of nature is not easy to determine。 It is certain Claude
Lorraine seldom； if ever； availed himself of those accidents； either he
thought that such peculiarities were contrary to that style of general nature
which he professed； or that it would catch the attention too strongly； and
destroy that quietness and repose which he thought necessary to that kind
of painting。
A portrait painter likewise； when he attempts history； unless he is upon
his guard； is likely to enter too much into the detail。 He too frequently
makes his historical heads look like portraits； and this was once the
custom amongst those old painters who revived the art before general
ideas were practised or understood。 A history painter paints man in
general； a portrait painter； a particular man； and consequently a defective
model。
Thus an habitual practice in the lower exercises of the art will prevent
many from attaining the greater。 But such of us who move in these
humbler walks of the profession are not ignorant that； as the natural
dignity of the subject is less； the more all the little ornamental helps are
necessary to its embellishment。 It would be ridiculous for a painter of
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domestic scenes； of portraits； landscapes； animals； or of still life； to say
that he despised those qualities which have made the subordinate schools
so famous。 The art of colouring； and the skilful management of light and
shadow； are essential requisites in his confined labours。 If we descend
still lower； what is the painter of fruit and flowers without the utmost art in
colouring； and what the painters call handling； that is； a lightness of pencil
that implies great practice； and gives the appearance of being done with
ease？ Some here； I believe； must remember a flower…painter whose boast
it was that he scorned to paint for the million； no； he professed to paint in
the true Italian taste； and despising the crowd； called strenuously upon the
few to admire him。 His idea of the Italian taste was to paint as black and
dirty as he could； and to leave all clearness and brilliancy of colouring to
those who were fonder of money than of immortality。 The consequence
was such as might be expected。 For these pretty excellences are here
essential beauties； and without this merit the artist's work will be more
short…lived than the objects of his imitation。
From what has been advanced； we must now be convinced that there
are two distinct styles in history painting： the grand； and the splendid or
ornamental。
The great style stands alone； and does not require； perhaps does not so
well admit； any addition from inferior beauties。 The ornamental style
also possesses its own peculiar merit。 However； though the union of the
two may make a sort of composite style； yet that style is likely to be more
imperfect than either of those which go to its composition。 Both kinds
have merit； and may be excellent though in different ranks； if uniformity
be preserved； and the general and particular ideas of nature be not mixed。
Even the meanest of them is difficult enough to attain； and the first place
being already occupied by the great artists in either department； some of
those who followed thought there was less room for them； and feeling the
impulse of ambition and the desire of novelty； and being at the same time
perhaps willing to take the shortest way； they endeavoured to make for
themselves a place between both。 This they have effected by forming a
union of the different orders。 But as the grave and majestic style would
suffer by a union with the florid and gay； so also has the Venetian
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ornament in some respect been injured by attempting an alliance with
simplicity。
It may be asserted that the great style is always more or less
contaminated by any meaner mixture。 But it happens in a few instances
that the lower may be improved by borrowing from the grand。 Thus； if a
portrait painter is desirous to raise and improve his subject； he has no other
means than by approaching it to a general idea。 He
