"regretting that he had lived to see a new form of art arising and the new
artists crowned with fame."
These lines, which I
translateliterally, have inspired Sir James Tuckett with
what are perhaps the finest pages in his work. They form part of his "Breviary
for Aesthetes"; all the Pre-Raphaelites know them by heart. I place them here
as the most precious
ornament of this book. You will agree that nothing more
sublime has been written since the days of the Hebrew prophets.
MARGARITONE'S VISION
Margaritone, full of years and labours, went one day to visit the
studio of a
young
painter who had
lately settled in the town. He noticed in the
studio a
freshly painted Madonna, which, although
severe and rigid,
nevertheless, by a
certain exactness in the
proportions and a
devilish mingling of light and
shade, assumed an appearance of
relief and life. At this sight the artless and
sublime
worker of Arezzo perceived with
horror what the future of
paintingwould be. With his brow clasped in his hands he exclaimed:
"What things of shame does not this figure show forth! I
discern in it the end
of that Christian art which paints the soul and inspires the beholder with an
ardent desire for heaven. Future
painters will not
restrain themselves as does
this one to portraying on the side of a wall or on a
wooden panel the cursed
matter of which our bodies are formed; they will
celebrate and
glorify it.
They will clothe their figures with dangerous appearances of flesh, and these
figures will seem like real persons. Their bodies will be seen; their forms
will appear through their clothing. St. Magdalen will have a bosom. St. Martha
a belly, St. Barbara hips, St. Agnes buttocks; St. Sebastian will unveil his
youthful beauty, and St. George will display beneath his
armour the muscular
wealth of a
robust virility; apostles, confessors, doctors, and God the Father
himself will appear as ordinary beings like you and me; the angels will affect
an equivocal, ambiguous,
mysterious beauty which will trouble hearts. What
desire for heaven will these representations
impart? None; but from them you
will learn to take pleasure in the forms of terrestrial life. Where will
painters stop in their indiscreet inquiries? They will stop
nowhere. They will
go so far as to show men and women naked like the idols of the Romans. There
will be a
sacred art and a
profane art, and the
sacred art will not be less
profane than the other."
"Get ye behind me, demons," exclaimed the old master. For in
prophetic vision
he saw the
righteous and the saints assuming the appearance of melancholy
athletes. He saw Apollos playing the lute on a
flowery hill, in the midst of
the Muses wearing light tunics. He saw Venuses lying under shady myrtles and
the Danae exposing their
charming sides to the golden rain. He saw pictures of
Jesus under the pillar's of the
templeamidst patricians, fair ladies,
musicians, pages, negroes, dogs, and parrots. He saw in an inextricable
confusion of human limbs, outspread wings, and flying draperies, crowds of
tumultuous Nativities, opulent Holy Families,
emphatic Crucifixions. He saw
St. Catherines, St. Barbaras, St. Agneses humiliating patricians by the
sumptuousness of their velvets, their brocades, and their pearls, and by the
splendour of their breasts. He saw Auroras scattering roses, and a
multitudeof naked Dianas and Nymphs surprised on the banks of
retired streams. And the
great Margaritone died, strangled by so
horrible a presentiment of the
Renaissance and the Bolognese School.
VI. MARBODIUS
We possess a precious
monument of the Penguin
literature of the fifteenth
century. It is a
narrative of a journey to hell undertaken by the monk
Marbodius, of the order of St. Benedict, who professed a
fervent admiration
for the poet Virgil. This
narrative, written in fairly good Latin, has been
published by M. du Clos des Limes. It is here
translated for the first time. I
believe that I am doing a service to my fellow-countrymen in making them
acquainted with these pages, though
doubtless they are far from forming a