THE TRUTH OF MASKS [4]
realistic movement of which Hugo is the father and M. Zola the
ENFANT TERRIBLE, just as the classicism of the earlier part of the
century was emphasised by Talma's refusal to play Greek heroes any
longer in a powdered periwig - one of the many instances, by the
way, of that desire for archaeological accuracy in dress which has
distinguished the great actors of our age.
In criticising the importance given to money in LA COMEDIE HUMAINE,
Theophile Gautier says that Balzac may claim to have invented a new
hero in fiction, LE HEROS METALLIQUE. Of Shakespeare it may be
said he was the first to see the dramatic value of doublets, and
that a climax may depend on a crinoline.
The burning of the Globe Theatre - an event due, by the way, to the
results of the passion for illusion that distinguished
Shakespeare's stage-management - has unfortunately robbed us of
many important documents; but in the inventory, still in existence,
of the costume-wardrobe of a London theatre in Shakespeare's time,
there are mentioned particular costumes for cardinals, shepherds,
kings, clowns, friars, and fools; green coats for Robin Hood's men,
and a green gown for Maid Marian; a white and gold doublet for
Henry the Fifth, and a robe for Longshanks; besides surplices,
copes, damask gowns, gowns of cloth of gold and of cloth of silver,
taffeta gowns, calico gowns, velvet coats, satin coats, frieze
coats, jerkins of yellow leather and of black leather, red suits,
grey suits, French Pierrot suits, a robe 'for to goo invisibell,'
which seems inexpensive at 3 pounds, 10s., and four incomparable
fardingales - all of which show a desire to give every character an
appropriate dress. There are also entries of Spanish, Moorish and
Danish costumes, of helmets, lances, painted shields, imperial
crowns, and papal tiaras, as well as of costumes for Turkish
Janissaries, Roman Senators, and all the gods and goddesses of
Olympus, which evidence a good deal of archaeological research on
the part of the manager of the theatre. It is true that there is a
mention of a bodice for Eve, but probably the DONNEE of the play
was after the Fall.
Indeed, anybody who cares to examine the age of Shakespeare will
see that archaeology was one of its special characteristics. After
that revival of the classical forms of architecture which was one
of the notes of the Renaissance, and the printing at Venice and
elsewhere of the masterpieces of Greek and Latin literature, had
come naturally an interest in the ornamentation and costume of the
antique world. Nor was it for the learning that they could
acquire, but rather for the loveliness that they might create, that
the artists studied these things. The curious objects that were
being constantly brought to light by excavations were not left to
moulder in a museum, for the contemplation of a callous curator,
and the ENNUI of a policeman bored by the absence of crime. They
were used as motives for the production of a new art, which was to
be not beautiful merely, but also strange.
Infessura tells us that in 1485 some workmen digging on the Appian
Way came across an old Roman sarcophagus inscribed with the name
'Julia, daughter of Claudius.' On opening the coffer they found
within its marble womb the body of a beautiful girl of about
fifteen years of age, preserved by the embalmer's skill from
corruption and the decay of time. Her eyes were half open, her
hair rippled round her in crisp curling gold, and from her lips and
cheek the bloom of maidenhood had not yet departed. Borne back to
the Capitol, she became at once the centre of a new cult, and from
all parts of the city crowded pilgrims to worship at the wonderful
shrine, till the Pope, fearing lest those who had found the secret
of beauty in a Pagan tomb might forget what secrets Judaea's rough
and rock-hewn sepulchre contained, had the body conveyed away by
night, and in secret buried. Legend though it may be, yet the
story is none the less valuable as showing us the attitude of the
Renaissance towards