LITMIR.BIZ

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reader is referred to the remarks under Mantegna's pictures. With Mantegna the school of Padua reached its consummation. Crivelli's pictures are hung with those of the Paduan school, for he too is believed to have been a pupil of Squarcione. But after Mantegna the learning of Padua must be traced not in native painters, but in its influence on other schools.

      THE LATER ITALIAN SCHOOLS

      "The eclectic school endeavoured to unite opposite partialities and weaknesses. They trained themselves under masters of exaggeration, and tried to unite opposite exaggerations. That was impossible. They did not see that the only possible eclecticism had been already accomplished; – the eclecticism of temperance, which, by the restraint of force, gains higher force; and by the self-denial of delight, gains higher delight" (Ruskin: Two Paths, § 59).

      The typical painters, with whom this chapter is concerned, are those of the "Eclectic School" of Bologna – the Carracci, Domenichino, Guido Reni; and Salvator Rosa, the Neapolitan painter of about the same period.

It may be noticed, in the first place, that the lower repute in which these Italian painters of the seventeenth century are now held is of comparatively recent date. Poussin, for instance, ranked Domenichino next to Raphael, and preferred the works of the Carracci to all others in Rome, except only Raphael's, and Sir Joshua Reynolds cited them as models of perfection. Why, then, is it that modern criticism stamps the later Italian Schools as schools of the decadence? To examine the pictures themselves and to compare them with earlier works is the best way of finding out; but a few general remarks may be found of assistance. The painting of the schools now under consideration was "not spontaneous art. It was art mechanically revived during a period of critical hesitancy and declining enthusiasms." It was largely produced at Bologna by men not eminently gifted for the arts. When Ludovico Carracci, for instance, went to Venice, the veteran Tintoretto warned him that he had no vocation. Moreover "the painting which emerged there at the close of the sixteenth century embodied religion and culture, both of a base alloy… Therefore, though the painters went on painting the old subjects, they painted all alike with frigid superficiality. Nothing new or vital, fanciful or imaginative, has been breathed into antique mythology. What has been added to religious expression is repellent, … extravagantly ideal in ecstatic Magdalens and Maries, extravagantly realistic in martyrdoms and torments, extravagantly harsh in dogmatic mysteries, extravagantly soft in sentimental tenderness and tearful piety… If we turn from the ideas of the late Italian painters to their execution, we shall find similar reasons for its failure to delight" (Symonds's Renaissance, vii. 232). For "all these old eclectic theories were based not upon an endeavour to unite the various characters of nature (which it is possible to do), but the various narrownesses of taste, which it is impossible to do… All these specialities have their own charm in their own way; and there are times when the particular humour of each man is refreshing to us from its very distinctness; but the effort to add any other qualities to this refreshing one instantly takes away the distinctiveness" (Two Paths, § 58). It was not an attempt to unite the various characters of nature. On the contrary, "these painters, in selecting, omitted just those features which had given grace and character to their models. The substitution of generic types for portraiture, the avoidance of individuality, the contempt for what is simple and natural in details, deprived their work of attractiveness and suggestion. It is noticeable that they never painted flowers. While studying Titian's landscapes, they omitted the iris and the caper-blossom and the columbine, which star the grass beneath Ariadne's feet… They began the false system of depicting ideal foliage and ideal precipices – that is to say, trees which are not trees, and cliffs which cannot be distinguished from cork or stucco. In like manner, the cloths wherewith they clad their personages were not of brocade, or satin, or broadcloth, but of that empty lie called drapery … one monstrous nondescript stuff, differently dyed in dull or glaring colours, but always shoddy. Characteristic costumes have disappeared… After the same fashion furniture, utensils, houses, animals, birds, weapons, are idealised – stripped, that is to say, of what in these things is specific and vital"27 (Symonds, ibid. p. 233).

      With regard to the historical development of the declining art whose general characteristics we have been discussing, it is usual to group the painters under three heads – the Mannerists, the Eclectics, and the Naturalists. By the first of these are meant the painters in the several schools who succeeded the culminating masters and imitated their peculiarities. We have already noticed, under the Florentine School, how this "mannerism" set in, and all the other schools show a like process. Thus Giulio Romano shows the dramatic energy of Raphael and Michael Angelo passed into mannerism. Tiepolo is a "mannerised" Paolo Veronese, Baroccio a "mannerised" Correggio. Later on, however, and largely under the influence of the "counter-Reformation" – the renewed activity, that is, of the Roman church consequent on the Reformation,28– a reaction against the Mannerists set in. This reaction took two forms. The first was that of the Eclectic School founded by the Carraccis at Bologna in about the year 1580. This school – so called from its principle of "selecting" the qualities of different schools – includes, besides the Carraccis themselves, Guido Reni, Domenichino, Sassoferrato, and Guercino. The last-mentioned, however, combined in some measure the aims both of the Eclectics and of the other school which was formed in protest against the Mannerists. This was the school of the so-called Naturalists, of whom Caravaggio (1569-1609) was the first representative, and whose influence may be traced in the Spanish Ribera (see page 220) and the Neapolitan Salvator Rosa. They called themselves "Naturalists," as being opposed to the "ideal" aims alike of the Mannerists and the Eclectics; but they made the fatal mistake – a mistake which seems to have a permanent hold on a certain order of minds, for it is at the root of much of the art-effort of our own day – that there is something more "real" and "natural" in the vulgarities of human life than in its nobleness, and in the ugliness of nature than in its beauty (see below under 172, and under Salvator Rosa passim).

      The later Venetian pictures make a most interesting group. In the eighteenth century Venetian art experienced a partial revival, and the painters of this revival – Tiepolo, Longhi, Canaletto, and Guardi may here be well studied.

      THE EARLY FLEMISH AND THE GERMAN SCHOOLS

      "Why is it, probably, that Pictures exist in the world, and to what end was the divine art of Painting bestowed, by the earnest gods, upon poor mankind? I could advise once, for a little! To make this poor authentic earth a little memorable for us. Flaying of St. Bartholomew, Rape of Europa, Rape of the Sabines, Piping and Amours of goat-footed Pan, Romulus suckled by the Wolf: all this and much else of fabulous, distant, unimportant, not to say impossible, ugly and unworthy shall pass. But I say, Herewithal is something not phantasmal; of indisputable certainty, home-grown" (Carlyle: Friedrich, bk. iv. ch. vi., slightly altered).

      The Early Flemish and German schools are by no means so completely represented as the nearly contemporary schools of Italy; but there are enough pictures to bring out the characteristics of the northern art. Nothing can be more instructive, and convincing of the value of art as a means of national autobiography, than to compare the early pictures in these rooms en bloc with those in any of the Italian rooms (e. g. the Umbrian). No one can fail to be struck at once by the contrast between what Mr. Ruskin has called "the angular and bony sanctities of the North," and "the drooping graces and pensive pieties of the South." This is the first distinguishing character of the early northern art: there is little feeling, or care, for beauty as such. Look round the rooms, and see whether there is a single face which will haunt you for its beauty. Look at the pictures which interest you most, choose out the brightest and the most exquisitely finished: and see if it is not an almost defiant absence of beautiful feature that characterises them. Coupled with their absence of feeling for the beautiful there is in the work of these artists a strange fondness for death – for agonies, crucifixions, depositions, exhumations. "It is not that the person needs excitement or has any such strong perceptions as would cause excitement, but he is dead to the horror, and a strange evil influence guides his feebleness of mind rather to fearful images than to beautiful ones, – as our disturbed dreams are sometimes filled with ghastlinesses which seem not to arise out of any conceivable association of our waking ideas, but to be a

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