Seven Discourses on Art [22]
it is true in taste, that many little things will not make a great one. The sublime impresses the mind at once with one great idea; it is a single blow: the elegant indeed may be produced by a repetition, by an accumulation of many minute circumstances.
However great the difference is between the composition of the Venetian and the rest of the Italian schools, there is full as great a disparity in the effect of their pictures as produced by colours. And though in this respect the Venetians must be allowed extraordinary skill, yet even that skill, as they have employed it, will but ill correspond with the great style. Their colouring is not only too brilliant, but, I will venture to say, too harmonious to produce that solidity, steadiness, and simplicity of effect which heroic subjects require, and which simple or grave colours only can give to a work. That they are to be cautiously studied by those who are ambitious of treading the great walk of history is confirmed, if it wants confirmation, by the greatest of all authorities, Michael Angelo. This wonderful man, after having seen a picture by Titian, told Vasari, who accompanied him, "that he liked much his colouring and manner; but then he added, that it was a pity the Venetian painters did not learn to draw correctly in their early youth, and adopt a better manner of study."
By this it appears that the principal attention of the Venetian painters, in the opinion of Michael Angelo, seemed to be engrossed by the study of colours, to the neglect of the ideal beauty of form, or propriety of expression. But if general censure was given to that school from the sight of a picture of Titian, how much more heavily, and more justly, would the censure fall on Paulo Veronese, or more especially on Tintoret? And here I cannot avoid citing Vasari's opinion of the style and manner of Tintoret. "Of all the extraordinary geniuses," says he, "that have ever practised the art of painting, for wild, capricious, extravagant, and fantastical inventions, for furious impetuosity and boldness in the execution of his work, there is none like Tintoret; his strange whims are even beyond extravagance; and his works seem to be produced rather by chance than in consequence of any previous design, as if he wanted to convince the world that, the art was a trifle, and of the most easy attainment."
For my own part, when I speak of the Venetian painters, I wish to be understood to mean Paulo Veronese and Tintoret, to the exclusion of Titian; for though his style is not so pure as that of many other of the Italian schools, yet there is a sort of senatorial dignity about him, which, however awkward in his imitators, seems to become him exceedingly. His portraits alone, from the nobleness and simplicity of character which he always gave them, will entitle him to the greatest respect, as he undoubtedly stands in the first rank in this branch of the art.
It is not with Titian, but with the seducing qualities of the two former, that I could wish to caution you, against being too much captivated. These are the persons who may be said to have exhausted all the powers of florid eloquence, to debauch the young and unexperienced, and have, without doubt, been the cause of turning off the attention of the connoisseur and of the patron of art, as well as that of the painter, from those higher excellences of which the art is capable, and which ought to be required in every considerable production. By them, and their imitators, a style merely ornamental has been disseminated throughout all Europe. Rubens carried it to Flanders, Voet to France, and Luca Giordano to Spain and Naples.
The Venetian is indeed the most splendid of the schools of elegance; and it is not without reason that the best performances in this lower school are valued higher than the second-rate performances of those above them; for every picture has value when it has a decided character, and is excellent in its kind. But the student must take care not to be so much dazzled with this splendour as to be tempted to imitate
However great the difference is between the composition of the Venetian and the rest of the Italian schools, there is full as great a disparity in the effect of their pictures as produced by colours. And though in this respect the Venetians must be allowed extraordinary skill, yet even that skill, as they have employed it, will but ill correspond with the great style. Their colouring is not only too brilliant, but, I will venture to say, too harmonious to produce that solidity, steadiness, and simplicity of effect which heroic subjects require, and which simple or grave colours only can give to a work. That they are to be cautiously studied by those who are ambitious of treading the great walk of history is confirmed, if it wants confirmation, by the greatest of all authorities, Michael Angelo. This wonderful man, after having seen a picture by Titian, told Vasari, who accompanied him, "that he liked much his colouring and manner; but then he added, that it was a pity the Venetian painters did not learn to draw correctly in their early youth, and adopt a better manner of study."
By this it appears that the principal attention of the Venetian painters, in the opinion of Michael Angelo, seemed to be engrossed by the study of colours, to the neglect of the ideal beauty of form, or propriety of expression. But if general censure was given to that school from the sight of a picture of Titian, how much more heavily, and more justly, would the censure fall on Paulo Veronese, or more especially on Tintoret? And here I cannot avoid citing Vasari's opinion of the style and manner of Tintoret. "Of all the extraordinary geniuses," says he, "that have ever practised the art of painting, for wild, capricious, extravagant, and fantastical inventions, for furious impetuosity and boldness in the execution of his work, there is none like Tintoret; his strange whims are even beyond extravagance; and his works seem to be produced rather by chance than in consequence of any previous design, as if he wanted to convince the world that, the art was a trifle, and of the most easy attainment."
For my own part, when I speak of the Venetian painters, I wish to be understood to mean Paulo Veronese and Tintoret, to the exclusion of Titian; for though his style is not so pure as that of many other of the Italian schools, yet there is a sort of senatorial dignity about him, which, however awkward in his imitators, seems to become him exceedingly. His portraits alone, from the nobleness and simplicity of character which he always gave them, will entitle him to the greatest respect, as he undoubtedly stands in the first rank in this branch of the art.
It is not with Titian, but with the seducing qualities of the two former, that I could wish to caution you, against being too much captivated. These are the persons who may be said to have exhausted all the powers of florid eloquence, to debauch the young and unexperienced, and have, without doubt, been the cause of turning off the attention of the connoisseur and of the patron of art, as well as that of the painter, from those higher excellences of which the art is capable, and which ought to be required in every considerable production. By them, and their imitators, a style merely ornamental has been disseminated throughout all Europe. Rubens carried it to Flanders, Voet to France, and Luca Giordano to Spain and Naples.
The Venetian is indeed the most splendid of the schools of elegance; and it is not without reason that the best performances in this lower school are valued higher than the second-rate performances of those above them; for every picture has value when it has a decided character, and is excellent in its kind. But the student must take care not to be so much dazzled with this splendour as to be tempted to imitate