Frank Jewett Mather

“ You feel how Veronese loved it all and how little he cared for anything beyond the splendor, dignity and prosperity of his adoptive city. He gives us the look of Venice at her climax of Renaissance glory, as Carpaccio had given the dying radiance of her mediæval estate. From the point of view of judgment, style and fine craftsmanship, it is impossible to overpraise Veronese. He should be regarded rather as a great painter in the narrower sense than a supreme artist. ”

“ For greater beauty, Athens represented them nude or lightly draped; for greater dignity, Florence chose the solemn garb of the Roman forum. Whether pagan or Christian, the guardians of a people’s morality were to be above haste, excitement, or any transient emotion. They were to express intensities of feeling, but a feeling more composed, permanent, and disciplined, than that of every day. Judgment and criticism count for as much in both arts as emotional inspiration. ”

“ Stolid men like Fra Bartolommeo immediately accepted his principles of composition and so did miraculously alert intelligences like Raphael’s. His mere passing contact and tradition inspired that admirable language of light and dark that became poetry in Giorgione and Correggio. The good and the harm he did is active today in thousands of academies and art schools. His is assuredly the finest intelligence that ever applied itself to the painter’s art, and if he failed in will and in fecundity, he has impressed himself upon posterity as no other Italian painter save Titian. ”

“ If the serene intelligence of a Raphael had not found emotions to fill such forms, if Michelangelo himself in his later years falls back on a monotonous formula of terribleness, what hope was there for such uninspired imitators as the Venustis, Volterras, and Vasaris? One and all, they entertained monstrous delusions of effortless attainment—cleverly contorted their nudes, shrewdly calculated their terrors. And the Roman art of the Golden Age, forgetting both the wise humility of Umbria and the reasonable pride of Florence, suddenly collapsed in the ugliest and most irrational ostentation. ”

“ In the Arcadian nude Palma has delicacy and refinement of workmanship, but the mood is obvious. For him beauty is literally skin deep, and he gives himself to the impossible competition of paint with nature’s nacreous shades and ineffable carnations. But he so nearly succeeds that just as a painter of lovely surfaces no Venetian painter quite equalled him, not even Titian, and with this single talent Palma almost made himself a great portraitist. Indeed if painting surfaces were all of portraiture, he would be the greatest portraitist of the Renaissance. ”

“ However that be, Raphael in the glorious years from 1500 to 1512 resumes and perfects every gentle, orderly, and reasonable strain in Italian painting. Whether in portraiture or narrative, in mythology or symbolism, in pictures of the Madonna or in pure decoration, he gave to Italian painting its final stamp. He achieved a grandeur of space composition akin to the movement of a symphony, a hidden structure more appealing than any separate hue or form. His best work rests on a great humility, and his later pride went far towards undoing him as an artist. ”

“ Certain ardent young faces recall Leonardo da Vinci, and the construction of the group is his. We have linking motives, like that of sprawling Diogenes on the steps, curves that repeat or counter the vault above, turns and thrusts of bodies in active balance, an energetic variety within a serene harmony. The mood is less agitated than that of the Disputa, while the composition is freer. Human science and philosophy are at once less bound than is theology, and move more equably because they strive for more readily attainable ends. ”

“ Within his narrow range Palma is admirable, never uneasy, never below himself. In his unperturbed Arcadianism and even in his harmless sentimentalism, in his delicacy and robustness, he seems more Venetian than the Venetians themselves.
Composure is the very soul of the grand style whether in fifth century Athens or in sixteenth century Florence, Rome, or Venice. It accepts the human spectacle as worthy and thrilling, admires without misgivings the best things that come before its eye. ”

“ In every phase Correggio’s work is distinguishable by the most beautiful handling of color and light and dark. Like Moretto and Lotto he prefers a blonder scale than the Venetian, and makes his surfaces so many miracles of ivory, silvery grays and straw yellows, invested with shadow tenuously modulated, yet of strongest modelling power. He cares nothing about textures or individually rich passages; it is the whole picture that counts. The brush sweeps lightly and swiftly, there is no loading of color, everywhere an exquisite economy and a subtlety that conceals itself. ”

“ Such is Jacopo Tintoretto amid the reflective tranquility, and confident splendors of Venetian painting—a wind of the spirit, a shattering, yet consoling, apparition. Tenderness, tragedy, 425romance, are his realm. Where his contemporaries dealt in superb averages, he deals in transcendent exceptions. Thus he has ever been a baffling figure to the critics. For the febrile Ruskin, he is among the greatest of painters; for the coolly analytical Kenyon Cox, he is little better than a reckless sensationalist. Every one, friend or foe of his art, must admit its Shakespearean richness and variety. ”

“ We have neither the fluent enamel of Giorgione and early Titian, nor yet the muffled richness of Titian’s later manner. But in the best Tintorettos the touch is infallibly crisp, right and expressive. To exaggerate these generously avowed influences of the master who repudiated him and the master he never saw would be easy. As a matter of fact, Tintoretto is always more the illustrator than either of his models. If he adopts the grand poses of Michelangelo, he does so not for abstract beauty, but ever seeks a motive for them. ”

“ Charming as is such a group as the Three Graces at Dresden, or the dozen or more single portraits of men and women, they lack the last quality of distinction. He tries to gain it by adopting rather overtly the pathos and wistfulness of Giorgione, but it doesn’t suit his exquisitely groomed cavaliers nor yet their even more exquisitely groomed and most ample light o’loves. Indeed, despite a handful of superb portraits, Palma has ever the air rather of a consummate beauty doctor than that of a great artist. ”

“ Botticelli, Signorelli; in a sardonic way, Piero di Cosimo; Giovanni Bellini and even Andrea Mantegna had variously attempted this sort of painted poesy. But the flavor of the Giorgionesque poesy is fuller and richer. His beauty is that of languor, revery, dream. Whatever the ostensible theme may be, his painting is Arcadian. His people have not merely no relation to our world, but slight and ambiguous relations to each other within the picture. They are isolated in their own musings, rarely look at each other, never suggest an action, but only a mood. ”

“ All objects, human and inanimate, bear firmly on the ground and are wrapped in an enveloping atmosphere. In the quality and arrangement of the figures, it all derives from Giotto; in the vastness of the scale, the introduction of mystery and distance, it is wholly Masaccio’s own. Vasari rightly praised the harmony and discretion with which these powerful assertions of form are made, and sees here the beginnings of the modern style of painting. ”

“ The gestures are unconscious caresses. The Goddess dreams of old joys. What faun or sylvan even would not respect that dream? Not with passion, then, though himself knowing all its sting, does Giorgione deal, but with ardors sublimated in memory. The marvellous lines of this Venus, as sweeping as the curves of hills or river currents, were imitated again and again, but neither Titian, Palma Vecchio, nor the rest ever recaptured the evasive poetry of their model. ”

“ The great Florentine artist is a thinker; he is often poet and scientist, sculptor and architect, besides being a painter. Behind his painting lies always a problem of mind, and as sheer personalities the greatest painters of Siena, Venice, and Lombardy often seem mere nobodies when compared even with the minor Florentines. We should know something about a city that produced personality so generously, and before considering Giotto, the first great painter Florence bred, we shall do well to look at Florence as he saw it about the year 1300, being a man in the thirties. ”

“ It is this complicated, dual process which makes the richness and continuity of the Early Renaissance. If we compare the seventy-two years between the beginnings of Masaccio, say 1422, and the death of Ghirlandaio, in 1494, with the century and a half preceding, we shall note an extraordinary acceleration both of production and progress. There are no gaps and rests; each generation makes its discoveries and cashes them in. Architecture, sculpture, classical scholarship develop with a whirling rapidity which by no means precludes taste and reflection. ”

“ The arches and the columns of Imperial Rome are teaching their silent lesson, the simple and noble forms of Cavallini and his nameless rivals show how painting may vie with sculpture in sense of mass and reality. With the problem of the representation of mass on a flat surface, Giotto wrestled eagerly and triumphantly. With a genius that few painters have equalled, he grasped the truth that the figure painter’s problem of representing space is chiefly that of emphatically suggesting mass. ”

“ It was Correggio’s distinction to fill an immense decoration with lyrical ecstacy. Michelangelo in the ceiling of the Sistine Chapel had done as much in elegiac vein. Both set a destructive example to smaller men who followed. For two centuries after Correggio’s death in 1534 the clouds blew into churches, and rosy angelic apparitions cooled their nude charms in these clouds and dangled their delicate legs therefrom, and painters worked their will upon mere architecture, and the baroque style took possession of all Catholic Europe. ”

“ While most of the faces show the orientalism of Duccio, the Madonna has the level-browed, intent character of Gothic art, and the Child is realistic. Gothic again is the graceful border with its fine medallions, and the bright colors of the whole. It is the most splendid enthroned Virgin in the world, and she is conceived chivalrically as a sort of tournament queen with her paladins upholding a canopy, and angel pages on their knees offering roses and lilies. ”

“ The air is simply that of a gentle society. The grim motive of the delivery of the head of John the Baptist to Herodias is gently emphasized by the charming act of two little handmaids who clutch each other for fright. The sprightliness of the invention, the generalized idyllic charm of the feeling, the rich variety of accessories, the youthful timbre of the whole—make this not merely one of the best but also one of the most characteristic narrative mural paintings of the Early Renaissance. It strikes the note which will be echoed by Fra Filippo’s apprentice, Sandro Botticelli ”

“ He produced no masterpiece of the first order, but his Work is singularly uniform on a high level. Its chief qualities are dignity and grace with a great richness of color. The deep shadows are warm and full of dusky light, the stylistic poses of the figures always easy, and the weaving of the complicated groupings ever tasteful and harmonious. To the refractory art of fresco painting Andrea brought a richness, depth and variety of color that others hardly attained in oil painting. ”

“ Passing to Florence, he left there the fullest expression of his gracious talent in the resplendent Adoration of the Kings, Figure 168, now in the Uffizi, which was painted for Palla Strozzi’s chapel in the Trinità. It was signed in May 1423, and perhaps because it was the season of flowers, Gentile painted in the rich pilasters growing sprays of morning glory, iris, anemone, and cornflower. Within its fantastic Gothic frame we witness a pageant such as Italy often saw on holy days—the procession of the Wise man moving through her streets. ”

“ For whatever art may be elsewhere, in Florence it was fruitful only as it was intellectualized. Good theory, good practice—such was the creed imposed by the early realists and later formulated by their great scion, Leonardo. I do not offer it as a universal formula, but in these days when pure spontaneity—that is no theory—and false theory divide the field, the old Florentine credo is at least worthy of consideration by all who produce art and by all who love it. ”

“ Beauty and simplicity have so great a share in the composition of the great style, that he who has acquired them has little else to learn. It must not, indeed, be forgotten that there is a nobleness of conception, which goes beyond any thing in the mere exhibition of perfect form; there is an art of animating and dignifying the figures with intellectual grandeur, of impressing the appearance of philosophic wisdom, or heroic virtue. ”

“ He had great contemporaries—Sebastiano del Piombo, Palma Vecchio, Tintoretto, Paolo Veronese, Lorenzo Lotto, Moroni, Moretto of Brescia—but so various and comprehensive is his achievement that their work seems merely so many extensions of the paths first explored by him. In his noble and measured sensuousness, he seems nearer the Greeks than any other Italian painter.
If he is something less than admirable as a character, it is because of an unpleasantly calculating side. ”

“ She is most unlike the majestic Madonnas of Florence and Siena. To assure us that this gentle Mother is after all Queen of Heaven and the Second Eve come for our salvation, the artist has given her a resplendent aureole with tiny miniatures of her champions, the apostles, and has stretched at her feet that First Eve in whom we all sinned. The picture will have been painted before 1380, and, with its Byzantine reminiscences, it well exemplifies the mediævalism that held its own in the Adriatic Marches long after Tuscany had set her face towards the Renaissance. ”

“ His remaining nine years added certain remarkable portraits, the Castiglione, the Leo X, Figure 190, the Fornarina and the young Cardinal at Madrid, one sublime altar-piece, in the Sistine Madonna; a dramatic masterpiece in the Transfiguration, and a few frescoes. But in the main these are years of retrogression. His popularity had got beyond his power to utilize it. Michelangelo in 1512 had unveiled the ceiling of the Sistine Chapel. Raphael, with all Rome, felt qualities of energy and grandeur which he himself lacked, and, with less than his usual intelligence, began a fruitless emulation. ”