it; of which if in compound hues any are overpowered and killed by the rest, so as to be of no value nor operation, foulness is the consequence; while so long as all act together, whether side by side, or from pigments seen one through the other, so that all the colouring matter employed may come into play in the harmony desired, and none be quenched nor killed, purity results. And so in all cases I suppose that pureness is made to us desirable, because expressive of that constant presence and energizing of the Deity by which all things live and move, and have their being; and that foulness is painful as the accompaniment of disorder and decay, and always indicative of the withdrawal of Divine support. And the practical analogies of life, the invariable connection of outward foulness with mental sloth and degradation, as well as with bodily lethargy and disease, together with the contrary indications of freshness and purity belonging to every healthy and active organic frame (singularly seen in the effort of the young leaves when first their inward energy prevails over the earth, pierces its corruption, and shakes its dust away from their own white purity of life)-all these circumstances strengthen the instinct by associations countless and irresistible. And then, finally, with the idea of purity comes that of spirituality; §9. Spirituality, for the essential characteristic of matter is its inertia, whence, by ed. adding to it purity or energy, we may in some measure spiritualize even matter itself. Thus in the Apocalyptic descriptions it is the purity of every substance that fits it for its place in heaven; the river of the water of life, that proceeds out of the throne of the Lamb, is clear as crystal, and the pavement of the city is pure gold like unto clear glass.1 'I have not spoken here of any of the associations connected with warmth or coolness of colour; they are partly connected with Vital beauty, compare Chap. xiv. § 22, 23, and partly with impressions of the sublime, the discussion of which is foreign to the present subject: purity, however, it is which gives value to both; for neither warm nor cool colour can be beautiful, if impure. Neither have I spoken of any questions relating to melodies of colour; a subject of separate science-whose general principle has been already stated in the Seventh Chapter respecting unity of Sequence. Those qualities only are here noted which give absolute beauty, whether to separate colour or to melodies of it-for all melodies are not beautiful, but only those which are expressive of certain pleasant or solemn emotions; and the rest startling, or curious, or cheerful, or exciting, or sublime, but not beautiful, (and so in music). And all questions relating to this grandeur, cheerfulness, or other characteristic impression of colour must be considered under the head of ideas of Relation. how so express of the terms CHAPTER X. OF MODERATION, OR THE TYPE OF GOVERNMENT BY LAW. § 1. Meaning Or objects which, in respect of the qualities hitherto considered, Chasteness and appear to have equal claims to regard, we find, nevertheless, that Refinement. certain are preferred to others in consequence of an attractive power, § 2. How referable to tempo usually expressed by the terms "chasteness, refinement, or elegance:" and it appears also that things which in other respects have little in them of natural beauty, and are of forms altogether simple and adapted to simple uses, are capable of much distinction and desirableness in consequence of these qualities only. It is of importance to discover the real nature of the ideas thus expressed. Something of the peculiar meaning of the words is referable to rary fashions. the authority of fashion and the exclusiveness of pride, owing to which that which is the mode of a particular time is submissively esteemed, and that which by its costliness or its rarity is of difficult attainment, or in any way appears to have been chosen as the best of many things, (which is the original sense of the words elegant and exquisite), is esteemed for the witness it bears to the dignity of the chooser: but neither of these ideas is in any way connected with constant beauty; neither do they account for that agreeableness of colour and form which is especially termed chasteness, and which it would seem to be a characteristic of rightly trained mind in all things to prefer, and of common minds to reject. § 3. How to There is however another character of artificial productions, to which the perception of Completion. these terms have partial reference, which it is of some importance to note; that of finish, exactness, or refinement, which are commonly desired in the works of men, owing both to their difficulty of accom plishment and consequent expression of care and power (compare chapter on Ideas of Power, Part I. Sec. i.), and from their greater resemblance to the working of God, whose "absolute exactness," says Hooker, "all things imitate, by tending to that which is most exquisite in every particular." And there is not a greater sign of the imperfection of general taste, than its capability of contentment with forms and things which, professing completion, are yet not exact nor complete; as in the vulgar with wax and clay and china figures, and in bad sculptors with an unfinished and clay-like modelling of surface, and curves and angles of no precision or delicacy: and in general, in all common and unthinking persons with an imperfect rendering of that which might be pure and fine; as churchwardens are content to lose the sharp lines of stone carving under clogging obliterations of whitewash; and as the modern Italians scrape away and polish white all the sharpness and glory of the carvings on their old churches, as most miserably and pitifully on St. Mark's at Venice, and the Baptisteries of Pistoja and Pisa, and § 4. Finish, by many others so also the delight of vulgar painters in coarse and slurred painting, merely for the sake of its coarseness; as of Spag : 1 It is to be carefully noted that when rude execution is evidently not the result of imperfect feeling and desire (as in these men above named, it is) but either of impatient thought which there was necessity to note swiftly, or agitated thought which it was well to note with a certain wildness of manner, as pre-eminently and in both kinds the case with Tintoret, and in lower and more degraded modes with Rubens, and generally in the sketches and first thoughts of great masters; there is received a very noble pleasure, connected both with ideas of power (compare again Part I. Sect. ii. Chap. 1.) and with certain actions of the imagination of which we shall speak presently. But this pleasure is not received from the beauty of the work, for nothing can be perfectly beautiful unless complete, but from its simplicity and sufficiency to its immediate purpose, where the purpose is not of beauty at all, as often in things rough hewn, pre-eminently for instance, in the stones of the foundations of the Pitti and Stozzi palaces, whose noble rudeness is to be opposed both to the useless polish, and the barbarous rustications of modern times (although indeed this instance is not without exception to be received, for the majesty of these rocky buildings depends also in some measure upon the real beauty and finish of the natural curvilinear fractures, opposed to the coarseness of human chiselling); and again, as respects works of higher art, the pleasure of their hasty or imperfect execution is not indicative of their beauty, but of their majesty and fulness of thought and vastness of power. Shade is only beautiful when it magnifies and sets forth the forms of fair things; so negligence is only noble when it is, as Fuseli hath it, "the shadow of energy." Which that it may be, secure the substance and the shade will follow; but let the artist beware of stealing the manner of giant intellects when he has not their intention, and of assuming large modes of treatment when he has little thoughts to treat. There is large difference between indolent impatience of labour and intellectual impatience great masters esteemed essen tial. § 5. Moderation, its nature and value. noletto, Salvator, or Murillo, opposed to the divine finish which the greatest and mightiest of men disdained not, but rather wrought out with painfulness and life spending; as Leonardo and Michael Angelo (for the latter, however many things he left unfinished, did finish, if at all, with a refinement that the eye cannot follow, but the feeling only, as in the Pieta of Genoa); and Perugino always, even to the gilding of single hairs among his angel tresses, and the young Raphael, when he was heaven taught; and Angelico, and Pinturicchio, and John Bellini, and all other such serious and loving men. Only it is to be observed that this finish is not a part nor constituent of beauty, but the full and ultimate rendering of it; so that it is an idea only connected with the works of men, for all the works of the Deity are finished with the same, that is, infinite care and completion: and so what degrees of beauty exist among them can in no way be dependent upon this source, inasmuch as there are between them no degrees of care. And therefore, as there certainly is admitted a difference of degree in what we call chasteness, even in Divine work, (compare the hollyhock or the sunflower with the vale lily), we must seek for it some other explanation and source than this. And if, bringing down our ideas of it from complicated objects to simple lines and colours, we analyse and regard them carefully, I think we shall be able to trace them to an under-current of constantly agreeable feeling, excited by the appearance in material things of a self-restrained liberty; that is to say, by the image of that acting of God with regard to all his creation, wherein, though free to operate in whatever arbitrary, sudden, violent, or inconstant ways he will, he yet, if we may reverently so speak, restrains in himself this his omnipotent liberty, and works always in consistent modes, called by us laws. And this restraint or moderation, accord of delay; large difference between leaving things unfinished because we have more to do, or because we are satisfied with what we have done. Tintoret, who prayed hard, and hardly obtained, that he might be permitted, the charge of his colours only being borne, to paint a new built house from base to battlement, was not one to shun labour; it is the pouring in upon him of glorious thoughts in inexpressible multitude that his sweeping hand follows so fast. It is as easy to know the slightness of earnest haste from the slightness of blunt feeling, indolence, or affectation, as it is to know the dust of a race, from the dust of dissolution. ing to the words of Hooker ("that which doth moderate the force I have put this attribute of beauty last, because I consider it § 6. It is the girdle of the girdle and safeguard of all the rest, and in this respect the Beauty. most essential of all; for it is possible that a certain degree of beauty may be attained even in the absence of one of its other constituents, as sometimes in some measure without symmetry or without unity. But the least appearance of violence or extravagance, of the want of moderation and restraint, is, I think, destructive of all beauty whatsoever in everything, colour, form, motion, language, or thought; giving rise to that which in colour we call glaring, in form inelegant, in motion ungraceful, in language coarse, in thought undisciplined, in all unchastened; which qualities are in everything most painful, because the signs of disobedient and irregular operation. And herein we at last find the reason of that § 7. How found which has been so often noted respecting the subtlety and almost invisibility of natural curves and colours, and why it is that we look on those lines as least beautiful which fall into wide and far license of curvature, and as most beautiful which approach nearest (so that the curvilinear character be distinctly asserted) to the government of the right line; as in the pure and severe curves of the draperies of the religious painters; and thus in colour it is not red, but rose colour, which is most beautiful; neither such actual green as we find in summer foliage partly, and in our painting of it constantly; but such grey green as that into which nature modifies her distant tints, or such pale green and uncertain as we see in sunset sky, and in the clefts of the glacier and the chrysoprase, and the sea in natural curves and colours. |