Vernon Lee

“ Where in this brilliant and courteous and humane and civilized nation are the gigantic villains whose terrible features were drawn with such superb awfulness of touch by Webster and Ford? Where in this Renaissance of Italian literature, so cheerful and light of conscience, is the foul and savage Renaissance of English tragedy? Does the art of Italy tell an impossible, universal lie? or is the art of England the victim of an impossible, universal hallucination?
Neither; for art can neither tell lies nor be the victim of hallucination. The horror exists, and the light-heartedness exists ”

“ For the first time since Antiquity, man walks free of all political and intellectual trammels, erect, conscious of his own thoughts, master of his own actions; ready to seek for truth across the ocean like Columbus, or across the heavens like Copernicus; to seek it in criticism and analysis like Machiavelli or Guicciardini, boldly to reproduce it in its highest, widest sense like Michael Angelo and Raphael.
The men of the Renaissance had to pay a heavy price for this intellectual freedom and self-cognizance which they not only enjoyed themselves, but transmitted to the rest of the world ”

“ The man of the Renaissance, as we have said, had no need to be a monster to do monstrous things; a crime did not necessitate such a moral rebellion as requires complete unity of nature, unmixed wickedness; it did not precipitate a man for ever into a moral abyss where no good could ever enter. Seeing no barrier between the legitimate and the illegitimate, he could alternate almost unconsciously between them. He was never shut out from evil, and never shut out from good; the judgment of men did not dress him in a convict's jacket which made evil his only companion ”

“ From the Platonists and Epicureans of Renaissance Italy our greatest dramatists learned that cheerful and serious love of life, that solemn and manly facing of death, that sense of the finiteness of man, the inexhaustibleness of nature, which shines out in such grand, paganism, with such Olympian serenity, as of the bent brows and smiling lips of an antique Zeus, in Shakespeare, in Marlowe, in Beaumont and Fletcher, even in the sad and savage Webster. ”

“ Thus by this versatile Lorenzo dei Medici, this flippant, egotistic artist and despot, has at last been broken the long spell of the Middle Ages. The Renaissance has sung no longer of knights and of spring, but of peasants and of autumn. An immoral and humanistic time, an immoral and humanistic man, have had at length a heart for the simpler, ruder less favoured classes of mankind; an eye for the bolder, grander, more solemn sights of Nature: modern times have begun, modern sympathies, modern art are in full swing. ”

“ And, indeed, the Italy of the Renaissance, as represented in its literature and its art, is the very negation of Elizabethan horrors. Of all the mystery, the colossal horror and terror of our dramatists, there is not the faintest trace in the intellectual productions of the Italian Renaissance. The art is absolutely stainless: no scenes of horror, no frightful martyrdoms, as with the Germans under Albrecht Dürer; no abominable butcheries, as with the Bolognese of the seventeenth century; no macerated saints and tattered assassins, as with the Spaniards ”

“ The presence of the good does not console us for that of the evil, because it neither mitigates nor even shrinks from it; we merely lose our pleasure in the good nature and simplicity of Aeneas Sylvius when we see his cool admiration for a man of fraud and violence like Sforza; we begin to mistrust the purity and integrity of the upright Guarino da Verona when we hear his lenient judgment of the infamous Beccadelli; we require of the virtuous that they should not only be incapable of vice, but abhorrent of it; and this is what even the best men of the Renaissance rarely were. ”

“ The nations who came into contact with the Italians opened their eyes with astonishment, with mingled admiration and terror; and we, people of the nineteenth century, are filled with the same feeling, only much stronger and more defined, as we watch the strange ebullition of the Renaissance, seething with good and evil, as we contemplate the enigmatic picture drawn by the puzzled historian, the picture of a people moving on towards civilization and towards chaos. Our first feeling is perplexity; our second feeling, anger; we do not at first know whether we ought to believe in such an anomaly ”

“ That which they thus instinctively knew that Italy possessed, that which they must obtain, was a mode of thought, a habit of form; philosophy, art, civilization: all the materials for intellectual manipulation. For, in the sixteenth century, on awakening from its long evil sleep, haunted by the nightmare of civil war, of the fifteenth century, the English mind had started up in the vigour of well- nigh mature youth, fed up and rested by the long inactivity in which it had slept through its period of assimilation and growth. ”

“ In such a city as this, the sudden withdrawal, by sacristan or beggar-crone, of the curtain from before an altar-piece is many a time much more than the mere displaying of a picture: it is the sudden bringing us face to face with the real life of the Renaissance. We have ourselves, perhaps not an hour before, sauntered through squares and dawdled beneath porticos like those which we see filled with the red-robed and plumed citizens and patricians, the Jews and ruffians whom Pinturicchio's parti-coloured men-at-arms are dispersing to make room for the followers of Aeneas Sylvius ”

“ The past can give us, and should give us, not merely ideas, but emotions: healthy pleasure which may make us more light of spirit, and pain which may make us more earnest of mind; the one, it seems to me, as necessary for our individual worthiness as is the other. For to each of us, as we watch the past, as we lie passive and let it slowly circulate around us, there must come sights which, in their reality or in their train of associations, and to the mind of each differently, must gladden as with a sense of beauty, or put us all into a sullen moral ache. ”

“ Here and there are strewn skulls; skeletons stand leering by, as if in remembrance of the ghastly past, and as a token of former death; but magnificent youths are breaking through the crust of the earth, emerging, taking shape and flesh; arising, strong and proud, ready to go forth at the bidding of the Titanic angels who announce from on high with trumpet blast and waving banners, that the death of the world has come to an end, and that humanity has arisen once more in the youth and beauty of Antiquity. ”

“ There is for these men no fatality save the evil nature of man, no justice save the doubling of crime, no compensation save revenge: there is for Webster and Ford and Tourneur and Marston no heaven above, wrathful but placable; there are no Gods revengeful but just: there is nothing but this blood-stained and corpse-strewn earth, defiled by lust- burnt and death-hungering men, felling each other down and trampling on one another blindly in the eternal darkness which surrounds them. ”

“ Out of the Renaissance, out of the Middle Ages, we must never hope to evoke any spectres which can talk with us and we with them; nothing of the kind of those dim but familiar ghosts, often grotesque rather than heroic, who come to us from out of the books, the daubed portraits of times nearer our own, and sit opposite us, making us laugh, and also cry, with humdrum stories and humdrum woes so very like our own. ”

“ But this is no more the fault of Antiquity than it is the fault of the Middle Ages; it is the fault of that great principle of life and of change which makes all things organic, be they physical or intellectual, germinate, grow, attain maturity, and then fade, wither, and rot. The dead art of Antiquity could never have brought the art of the Renaissance to an untimely end; the art of the Renaissance decayed because it was mature, and died because it had lived. ”

“ Their abominable love is in their own eyes a mere weakness of the flesh; there is no sense of revolt against man and nature and God; they are neither dragged on by irresistible demoniac force nor held back by the grip of conscience; they slip and slide, even like Francesca and Paolo. They pay each other sweet and mawkish compliments. The ferocious lust of Francesco Cenci is moral compared with the way in which the "trim youth" Giovanni praises Annabella's beauty; the blushing, bride-like way in which Annabella, "white in her soul," acknowledges her long love. ”

“ The blindness to evil which constitutes the criminality of the Renaissance is so great as to give a certain air of innocence. For the men of that time were wicked solely from a complete sophistication of ideas, a complete melting away (owing to slowly operating political and intellectual tendencies) of all moral barriers. They walked through the paths of wickedness with the serenity with which they would have trod the ways of righteousness; seeing no boundary, exercising their psychic limbs equally in the open and permitted spaces and in the forbidden. ”

“ The tragic spirit is the offspring of the conscience of a people. The sense of the imaginative grandeur of evil may perhaps be a forerunner of demoralization; but such a sense of wonder and awe, such an imaginative fascination of the grandly, superhumanly wicked such a necessity to magnify a villain into a demon with archangelic splendour of power of evil, can exist only in minds pure and strong, braced up to virtue, virgin of evil, with a certain childlike power of wonder; minds to whom it appears that to be wicked requires a powerful rebellion ”

“ To some, mediæval art has appeared being led, Dante-like, by a magician Virgil through the mysteries of nature up to a Christian Beatrice, who alone can guide it to the kingdom of heaven; others have seen mediæval art, like some strong, chaste Sir Guyon turning away resolutely from the treacherous sorceress of Antiquity, and pursuing solitarily the road to the true and the good; for some the antique has been an impure goddess Venus, seducing and corrupting the Christian artist ”

“ In a systematic, consolidated State, where the power is in the hands of a hereditary sovereign or aristocracy, a rich merchant remains a rich merchant, a victorious general remains a victorious general, an eloquent orator remains an eloquent orator; but in a shapeless, flunctuating democracy like those of Italy, the man who has influence over his fellow-citizens, whether by his money, his soldiers, or his eloquence, necessarily becomes the head of the State; everything is free and unoccupied, only a little superior strength is required to push into it. ”

“ At the end of the fifteenth century, Italy was the centre of European civilization: while the other nations were still plunged in a feudal barbarism which seems almost as far removed from all our sympathies as is the condition of some American or Polynesian savages, the Italians appear to us as possessing habits of thought, a mode of life, political, social, and literary institutions, not unlike those of to-day; as men whom we can thoroughly understand, whose ideas and aims, whose general views, resemble our own in that main, indefinable characteristic of being modern. ”

“ Into the holy enclosure which had received the precious shiploads of earth from Calvary, the Pisans of the thirteenth century carried the fragments of ancient sculpture brought from Rome and from Greece; and in the Gothic cloister enclosing the green sward and dark cypresses of the graveyard of Pisa, the art of the Middle Ages came for the first time face to face with the art of Antiquity. ”

“ Inserted merely to give occasion to show Aucassin's good heart in paying the twenty sols for the man's red bullock; perhaps for no reason at all, but certainly with no idea of making the lover's misery seem by comparison trifling—there are, nevertheless, few things in literature more striking than the meeting in the wood of the daintily nurtured boy, weeping over the girl whom he loves with almost childish love of the fancy; and of that ragged, tattered, hideous serf, at whose very aspect the Bel Aucassin stops in awe and terror. ”

“ The artist of the fifteenth century knew drapery only as an exotic, an exotic with whose representation the habit of seeing mediæval costume was for ever interfering; on the stripped, unseemly, indecent body he places, with the stiffness of artificiality, drapery such as he has never seen upon any living creature; the result is awkwardness and rigidity. And what attitude, what gesture, can he expect from this stripped and artificially draped model? None, for the model scarce knows how to stand in so unaccustomed a condition of body. ”

“ Still the perspective and colour valuation of individual minds there must have been; and since it is not given to us to reproduce those of the near spectator in a region which we can never enter, we may yet sometimes console ourselves for the too melancholy abstractness and averageness of scientific representations, by painting that distant historic country as distant indeed, but as its far-off hill ranges and shimmering plains really appear in their combination of form and colour, from the height of an individual interest of our own, and beneath the light of our individual character. ”

“ The mere thought sends them very nearly into a faint. No: the ladies of mediæval romance must sit quiet, idle; at most they may sing to the lute; and if they work with their hands, it must be some dreary, strictly useless, piece of fancy work; they are hot-house plants, all these dainty folk. Had they no eyes, then, these poets of the Middle Ages, that they could see, among all the things of Nature, only those few which had been seen by their predecessors? ”

“ But here all is different, in this so-called Bacchanal of Mantegna. This heavy Silenus is supine like a mass of marble; these fauns are shy and mute; these youths are grave and sombre; there is no wine in the cups, there are no lees in the vat, there is no life in these magnificent colossal forms; there is no blood in their grandly bent lips, no light in their wide-opened eyes; it is not the drowsiness of intoxication which is weighing down the youth sustained by the faun ”