Ariadne Florentina: Six Lectures on Wood and Metal Engraving. Ruskin John

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СКАЧАТЬ of their life: get told again and again in different ways by all manner of people;—the literalness of them is turned topsy-turvy, inside-out, over and over again;—then the fools come and read them wrong side upwards, or else, say there never was a fact at all. Nothing delights a true blockhead so much as to prove a negative;—to show that everybody has been wrong. Fancy the delicious sensation, to an empty-headed creature, of fancying for a moment that he has emptied everybody else's head as well as his own! nay, that, for once, his own hollow bottle of a head has had the best of other bottles, and has been first empty;—first to know—nothing.

      65. Hold, then, steadily the first tradition about this Arnolfo. That his real father was called "Cambio" matters to you not a straw. That he never called himself Cambio's Arnolfo—that nobody else ever called him so, down to Vasari's time, is an infinitely significant fact to you. In my twenty-second letter in Fors Clavigera you will find some account of the noble habit of the Italian artists to call themselves by their masters' names, considering their master as their true father. If not the name of the master, they take that of their native place, as having owed the character of their life to that. They rarely take their own family name: sometimes it is not even known,—when best known, it is unfamiliar to us. The great Pisan artists, for instance, never bear any other name than 'the Pisan;' among the other five-and-twenty names in my list, not above six, I think, the two German, with four Italian, are family names. Perugino, (Peter of Perugia,) Luini, (Bernard of Luino,) Quercia, (James of Quercia,) Correggio, (Anthony of Correggio,) are named from their native places. Nobody would have understood me if I had called Giotto, 'Ambrose Bondone;' or Tintoret, Robusti; or even Raphael, Sanzio. Botticelli is named from his master; Ghiberti from his father-in-law; and Ghirlandajo from his work. Orcagna, who did, for a wonder, name himself from his father, Andrea Cione, of Florence, has been always called 'Angel' by everybody else; while Arnolfo, who never named himself from his father, is now like to be fathered against his will.

      But, I again beg of you, keep to the old story. For it represents, however inaccurately in detail, clearly in sum, the fact, that some great master of German Gothic at this time came down into Italy, and changed the entire form of Italian architecture by his touch. So that while Niccola and Giovanni Pisano are still virtually Greek artists, experimentally introducing Gothic forms, Arnolfo and Giotto adopt the entire Gothic ideal of form, and thenceforward use the pointed arch and steep gable as the limits of sculpture.

      66. Hitherto I have been speaking of the relations of my twenty-five men to each other. But now, please note their relations altogether to the art before them. These twenty-five include, I say, all the great masters of Christian art.

      Before them, the art was too savage to be Christian; afterwards, too carnal to be Christian.

      Too savage to be Christian? I will justify that assertion hereafter; but you will find that the European art of 1200 includes all the most developed and characteristic conditions of the style in the north which you have probably been accustomed to think of as Norman, and which you may always most conveniently call so; and the most developed conditions of the style in the south, which, formed out of effete Greek, Persian, and Roman tradition, you may, in like manner, most conveniently express by the familiar word Byzantine. Whatever you call them, they are in origin adverse in temper, and remain so up to the year 1200. Then an influence appears, seemingly that of one man, Nicholas the Pisan, (our first Master, observe,) and a new spirit adopts what is best in each, and gives to what it adopts a new energy of its own; namely, this conscientious and didactic power which is the speciality of its progressive existence. And just as the new-born and natural art of Athens collects and reanimates Pelasgian and Egyptian tradition, purifying their worship, and perfecting their work, into the living heathen faith of the world, so this new-born and natural art of Florence collects and animates the Norman and Byzantine tradition, and forms out of the perfected worship and work of both, the honest Christian faith, and vital craftsmanship, of the world.

      67. Get this first summary, therefore, well into your minds. The word 'Norman' I use roughly for North-savage;—roughly, but advisedly. I mean Lombard, Scandinavian, Frankish; everything north-savage that you can think of, except Saxon. (I have a reason for that exception; never mind it just now.)12

      All north-savage I call Norman, all south-savage I call Byzantine; this latter including dead native Greek primarily—then dead foreign Greek, in Rome;—then Arabian—Persian—Phœnician—Indian—all you can think of, in art of hot countries, up to this year 1200, I rank under the one term Byzantine. Now all this cold art—Norman, and all this hot art—Byzantine, is virtually dead, till 1200. It has no conscience, no didactic power;13 it is devoid of both, in the sense that dreams are.

      Then in the thirteenth century, men wake as if they heard an alarum through the whole vault of heaven, and true human life begins again, and the cradle of this life is the Val d'Arno. There the northern and southern nations meet; there they lay down their enmities; there they are first baptized unto John's baptism for the remission of sins; there is born, and thence exiled,—thought faithless, for breaking the font of baptism to save a child from drowning, in his 'bel San Giovanni,'—the greatest of Christian poets; he who had pity even for the lost.

      68. Now, therefore, my whole history of Christian architecture and painting begins with this Baptistery of Florence, and with its associated Cathedral. Arnolfo brought the one into the form in which you now see it; he laid the foundation of the other, and that to purpose, and he is therefore the Captain of our first school.

      For this Florentine Baptistery14 is the great one of the world. Here is the center of Christian knowledge and power.

      And it is one piece of large engraving. White substance, cut into, and filled with black, and dark-green.

      No more perfect work was afterwards done; and I wish you to grasp the idea of this building clearly and irrevocably,—first, in order (as I told you in a previous lecture) to quit yourselves thoroughly of the idea that ornament should be decorated construction; and, secondly, as the noblest type of the intaglio ornamentation, which developed itself into all minor application of black and white to engraving.

      69. That it should do so first at Florence, was the natural sequence, and the just reward, of the ancient skill of Etruria in chased metal-work. The effects produced in gold, either by embossing or engraving, were the direct means of giving interest to his surfaces at the command of the 'auri faber,' or orfevre: and every conceivable artifice of studding, chiseling, and interlacing was exhausted by the artists in gold, who were at the head of the metal-workers, and from whom the ranks of the sculptors were reinforced.

      The old French word 'orfroiz,' (aurifrigia,) expresses essentially what we call 'frosted' work in gold; that which resembles small dew or crystals of hoar-frost; the 'frigia' coming from the Latin frigus. To chase, or enchase, is not properly said of the gold; but of the jewel which it secures with hoops or ridges, (French, enchasser15). Then the armorer, or cup and casket maker, added to this kind of decoration that of flat inlaid enamel; and the silver-worker, finding that the raised filigree (still a staple at Genoa) only attracted tarnish, or got crushed, early sought to decorate a surface which would bear external friction, with labyrinths of safe incision.

      70. Of the security of incision as a means of permanent decoration, as opposed to ordinary carving, here is a beautiful instance in the base of one of the external shafts of the Cathedral of Lucca; thirteenth-century work, which by this time, had it been carved in relief, would have been a shapeless remnant of indecipherable bosses. But it is still as safe as if it had been cut yesterday, because the smooth round mass of the pillar is entirely undisturbed; into that, furrows are cut with a chisel as much under command and as powerful as a burin. The effect of the design is trusted entirely to the depth of these incisions—here dying out and expiring in the light of the marble, there deepened, by drill СКАЧАТЬ