Seven Discourses on Art [14]
indefatigable in the school of nature, have left models of that perfect form behind them, which an artist would prefer as supremely beautiful, who had spent his whole life in that single contemplation. But if industry carried them thus far, may not you also hope for the same reward from the same labour? We have the same school opened to us that was opened to them; for nature denies her instructions to none who desire to become her pupils.
To the principle I have laid down, that the idea of beauty in each species of beings is invariably one, it may be objected that in every particular species there are various central forms, which are separate and distinct from each other, and yet are undeniably beautiful; that in the human figure, for instance, the beauty of the Hercules is one, of the gladiator another, of the Apollo another, which makes so many different ideas of beauty.
It is true, indeed, that these figures are each perfect in their kind, though of different characters and proportions; but still none of them is the representation of an individual, but of a class. And as there is one general form, which, as I have said, belongs to the human kind at large, so in each of these classes there is one common idea and central form, which is the abstract of the various individual forms belonging to that class. Thus, though the forms of childhood and age differ exceedingly, there is a common form in childhood, and a common form in age,--which is the more perfect, as it is more remote from all peculiarities. But I must add further, that though the most perfect forms of each of the general divisions of the human figure are ideal, and superior to any individual form of that class, yet the highest perfection of the human figure is not to be found in any one of them. It is not in the Hercules, nor in the gladiator, nor in the Apollo; but in that form which is taken from them all, and which partakes equally of the activity of the gladiator, of the delicacy of the Apollo, and of the muscular strength of the Hercules. For perfect beauty in any species must combine all the characters which are beautiful in that species. It cannot consist in any one to the exclusion of the rest: no one, therefore, must be predominant, that no one may be deficient.
The knowledge of these different characters, and the power of separating and distinguishing them, is undoubtedly necessary to the painter, who is to vary his compositions with figures of various forms and proportions, though he is never to lose sight of the general idea of perfection in each kind.
There is, likewise, a kind of symmetry or proportion, which may properly be said to belong to deformity. A figure lean or corpulent, tall or short, though deviating from beauty, may still have a certain union of the various parts, which may contribute to make them, on the whole, not unpleasing. When the artist has by diligent attention acquired a clear and distinct idea of beauty and symmetry; when he has reduced the variety of nature to the abstract idea; his next task will be to become acquainted with the genuine habits of nature, as distinguished from those of fashion. For in the same manner, and on the same principles, as he has acquired the knowledge of the real forms of nature, distinct from accidental deformity, he must endeavour to separate simple chaste nature from those adventitious, those affected and forced airs or actions, with which she is loaded by modern education.
Perhaps I cannot better explain what I mean than by reminding you of what was taught us by the Professor of Anatomy, in respect to the natural position and movement of the feet. He observed that the fashion of turning, them outwards was contrary to the intent of nature, as might be seen from the structure of the bones, and from the weakness that proceeded from that manner of standing. To this we may add the erect position of the head, the projection of the chest, the walking with straight knees, and many such actions, which are merely the result of fashion, and what nature never warranted, as we
To the principle I have laid down, that the idea of beauty in each species of beings is invariably one, it may be objected that in every particular species there are various central forms, which are separate and distinct from each other, and yet are undeniably beautiful; that in the human figure, for instance, the beauty of the Hercules is one, of the gladiator another, of the Apollo another, which makes so many different ideas of beauty.
It is true, indeed, that these figures are each perfect in their kind, though of different characters and proportions; but still none of them is the representation of an individual, but of a class. And as there is one general form, which, as I have said, belongs to the human kind at large, so in each of these classes there is one common idea and central form, which is the abstract of the various individual forms belonging to that class. Thus, though the forms of childhood and age differ exceedingly, there is a common form in childhood, and a common form in age,--which is the more perfect, as it is more remote from all peculiarities. But I must add further, that though the most perfect forms of each of the general divisions of the human figure are ideal, and superior to any individual form of that class, yet the highest perfection of the human figure is not to be found in any one of them. It is not in the Hercules, nor in the gladiator, nor in the Apollo; but in that form which is taken from them all, and which partakes equally of the activity of the gladiator, of the delicacy of the Apollo, and of the muscular strength of the Hercules. For perfect beauty in any species must combine all the characters which are beautiful in that species. It cannot consist in any one to the exclusion of the rest: no one, therefore, must be predominant, that no one may be deficient.
The knowledge of these different characters, and the power of separating and distinguishing them, is undoubtedly necessary to the painter, who is to vary his compositions with figures of various forms and proportions, though he is never to lose sight of the general idea of perfection in each kind.
There is, likewise, a kind of symmetry or proportion, which may properly be said to belong to deformity. A figure lean or corpulent, tall or short, though deviating from beauty, may still have a certain union of the various parts, which may contribute to make them, on the whole, not unpleasing. When the artist has by diligent attention acquired a clear and distinct idea of beauty and symmetry; when he has reduced the variety of nature to the abstract idea; his next task will be to become acquainted with the genuine habits of nature, as distinguished from those of fashion. For in the same manner, and on the same principles, as he has acquired the knowledge of the real forms of nature, distinct from accidental deformity, he must endeavour to separate simple chaste nature from those adventitious, those affected and forced airs or actions, with which she is loaded by modern education.
Perhaps I cannot better explain what I mean than by reminding you of what was taught us by the Professor of Anatomy, in respect to the natural position and movement of the feet. He observed that the fashion of turning, them outwards was contrary to the intent of nature, as might be seen from the structure of the bones, and from the weakness that proceeded from that manner of standing. To this we may add the erect position of the head, the projection of the chest, the walking with straight knees, and many such actions, which are merely the result of fashion, and what nature never warranted, as we