A Popular Handbook to the National Gallery, Volume I, Foreign Schools. National Gallery (Great Britain)

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СКАЧАТЬ avenues of scented and otherwise delightful trees – under picturesque rocks and by clear fountains. It is curious, as marking the classical spirit, that a sailing vessel is hardly admissible, but a galley with oars is admissible, because the rowers may be conceived as absolute slaves. (3) The spiritual powers in classical scenery must be decorative; ornamental gods, not governing gods; otherwise they could not be subjected to the principles of taste, but would demand reverence. In order, therefore, as far as possible, without taking away their supernatural power, to destroy their dignity … those only are introduced who are the lords of lascivious pleasures. For the appearance of any great god would at once destroy the whole theory of classical life; therefore Pan, Bacchus, and the Satyrs, with Venus and the Nymphs, are the principal spiritual powers of the classical landscape" (abridged from Modern Painters, vol. v. pt. ix. ch. v. §§ 1-8).

      It may be interesting to point out how entirely this ideal accords with the prevailing taste and literature of their time. The painting of Claude and Salvator precisely corresponds to what is called "pastoral poetry, that is to say, poetry written in praise of the country, by men who lived in coffee-houses and on the Mall36– … the class of poetry in which a farmer's girl is spoken of as a 'nymph,' and a farmer's boy as a 'swain,' and in which, throughout, a ridiculous and unnatural refinement is supposed to exist in rural life, merely because the poet himself has neither had the courage to endure its hardships, nor the wit to conceive its realities… Examine the novels of Smollett, Fielding, and Sterne, the comedies of Molière, and the writings of Johnson and Addison, and I do not think you will find a single expression of true delight in sublime nature in any one of them. Perhaps Sterne's Sentimental Journey, in its total absence of sentiment on any subject but humanity … is the most striking instance; … and if you compare with this negation of feeling on one side, the interludes of Molière, in which shepherds and shepherdesses are introduced in court dress, you will have a very accurate conception of the general spirit of the age.37 It was in such a state of society that the landscape of Claude, Gaspar Poussin, and Salvator Rosa attained its reputation. It is the complete expression on canvas of the spirit of the time" (Edinburgh Lectures on Architecture and Painting, pp. 163-167). The reputation thus gained survived unimpaired almost into the present century, until Wordsworth in poetry and Turner in painting led the return to nature, and the modern school of landscape arose.

      It is, however, the art of Constable to which direct influence must be attributed in the foundation of the modern school of landscape —paysage intime– in France (see Vol. II., pp. 93-4). Of this school, wholly unrepresented until lately in our National Gallery, a few examples – characteristic, if not very important – may now be seen in Room XVII. (see Nos. 2058, 2135, etc.).

      ☞ We have now concluded our survey of the Foreign Schools. The western doors in Room XVII. lead down a side staircase into the entrance Hall, and thus form an exit from the Gallery. On the staircases leading to the Hall and thence down to the basement, some foreign pictures are now placed. The visitor who wishes to see the British School should return into Room XVI. and thence proceed into the East Vestibule, where a few portraits by British masters are hung. Descending the steps and ascending those opposite, the visitor will come into the West Vestibule, which leads to the rooms of the British School – XVIII., XIX., XX., and XXI. Finally, at the east end of the Gallery, we reach Room XXII., devoted to the Turner Collection. For remarks on the British School see Volume II. From the Entrance Hall, the visitor reaches the West Basement, and by corresponding stairs on the other side the East Basement. In the Basement Rooms are collections of copies from Old Masters and the Turner Water Colours. For notes on the former, see end of this volume; for the Turners, see Volume II.

      NUMERICAL CATALOGUE, WITH BIOGRAPHICAL AND DESCRIPTIVE NOTES

      N. B. —The pictures here described are pictures belonging to Foreign Schools only. The numerals refer to the numbers on the frames.

      Pictures in the National Gallery to which, because they are deposited on loan or for other reasons, no numbers are attached, are described at the end of the Numerical Catalogue.

      References to books in the following pages are, except where otherwise stated, to the works of Ruskin. Wherever possible, the references to his books are by sections and paragraphs, instead of by pages, so as to make them applicable to all the different editions. The references to Vasari are to Bohn's translation, 5 vols., 1855.

      1. THE RAISING OF LAZARUS

Sebastiano del Piombo (Venetian: 1485-1547).

      This large picture is generally accounted the masterpiece of Sebastiano Luciani. He was called del Piombo (lead), from his holding the office of Keeper of the Leaden Seal (see No. 20). Sebastiano was originally a painter and musician at Venice, where he studied successively under John Bellini and Giorgione. But in 1512 he was invited to Rome by the famous banker Agostino Chigi. Here he fell under the influence of Michael Angelo, who employed Sebastiano to execute several of his designs, and saw in him a means, says Vasari, of outdoing Raphael. The opportunity occurred when the Cardinal Giulio de' Medici commissioned Raphael to paint the "Transfiguration" (now in the Vatican), and at the same time Sebastiano to paint this picture, on the same scale, of the Raising of Lazarus. The pictures when finished were exhibited side by side, and there were some who preferred Sebastiano's. "The picture was painted," says Vasari, "with the utmost care, under the direction, and in some parts with the design, of Michael Angelo." There are in the British Museum two original drawings by Michael Angelo which are evidently preparatory studies for the figure of Lazarus; but Sebastiano cannot have painted under his friend's direction, for Michael Angelo was at Florence at the time, and Sebastiano writes to him, "There has been some delay with my work. I have endeavoured to keep it back as long as possible, that Raphael might not see it before it is finished… But now I do not hesitate any more. I believe I shall not, with my work, bring discredit upon you." Another masterpiece of Sebastiano has recently been added to the Gallery (1450), which also contains two of his portrait pieces (20 and 24), a branch of art in which he obtained great success; Vasari particularly notices his skill in painting the head and hands.

      This famous picture is especially remarkable for its dramatic unity. It is crowded with figures, but all combine to concentrate attention on the central subject. The time chosen by the painter is after the completion of the miracle: "He that was dead came forth, bound hand and foot with grave-clothes; and his face was bound about with a napkin." Jesus in the middle of the picture is uttering the words, "Loose him, and let him go;" with his right hand Jesus points to heaven, as if he said, "I have raised thee by the power of him who sent me." The three men, who have already removed the lid of the sepulchre, are fulfilling Christ's command. The grave-clothes, by which the face of Lazarus is thrown into deep shade, express the idea of the night of the grave which but just before enveloped him; and the eye looking eagerly from beneath the shade upon Christ shows the new life in its most intellectual organ. To the left, behind Christ, is St. John, answering objections raised against the credibility of the miracle. Farther off, behind this group, is one of the Pharisees, whose unbelief is combated by the man who points in evidence to the raised Lazarus. Behind Lazarus is his sister Martha, sickening now at what she most desired; behind her are other women – holding their noses.38 At the foot of Jesus is the other sister, Mary, full of faith and gratitude —

      Her eyes are homes of silent prayer,

      Nor other thought her mind admits

      But, he was dead, and there he sits,

      And he that brought him back is there.

      Then one deep love doth supersede

      All other, when her ardent gaze

      Roves from the living brother's face,

      And rests upon the Life indeed.

Tennyson: In Memoriam, xxxii.

      2. СКАЧАТЬ