The Beautiful - Vernon Lee (the speed reading book .txt) 📗

in the development of the race as well as in that of the individual, pictorial attention to locomotion seems to precede attention to cubic existence. For when the palaeolithic, or the Egyptian draughtsman, or even the Sixth Century Greek, unites profile legs and head with a full-face chest; and when the modern child supplements the insufficiently projecting full-face nose by a profile nose tacked on where we expect the ear, we are apt to think that these mistakes are due to indifference to the cubic nature of things. The reverse is, however, the case. The primitive draughtsman and the child are recording impressions received in the course of the locomotion either of the thing looked at or of the spectator. When they unite whatever consecutive aspects are most significant and at the same time easiest to copy, they are in the clutches of their cubic experience, and what they are indifferent about, perhaps unconscious of, is the two-dimensional appearance which a body presents when its parts are seen simultaneously and therefore from a single point of view. The progress of painting is always from representing the Consecutive to representing the Simultaneous; perspective, foreshortening, and later, light and shade, being the scientific and technical means towards this end.

Upon our knowledge of the precise stage of such pictorial development depends our correct recognition of what things, and particularly what spatial relations and locomotion, of things, the painter is intended to represent. Thus when a Byzantine draughtsman puts his figures in what look to us as superposed tiers, he is merely trying to convey their existence behind one another on a common level. And what we take for the elaborate contortions of athletes and Athenas on Sixth Century vases turns out to be nothing but an archaic representation of ordinary walking and running.

The suggestion of locomotion depends furthermore on anatomy. What the figures of a painting are intended to be doing, what they are intended to have just done and to be going to do, in fact all questions about their action and business, are answered by reference to their bodily structure and its real or supposed possibilities. The same applies to expression of mood.

The impassiveness of archaic Apollos is more likely to be due to anatomical difficulties in displacing arms and legs, than to lack of emotion on the part of artists who were, after all, contemporaries either of Sappho or Pindar. And it is more probable that the sculptors of Aegina were still embarrassed about the modelling of lips and cheeks than that, having Homer by heart, they imagined his heroes to die silently and with a smirk.

I have entered into this question of perspective and anatomy, and given the above examples, because they will bring home to the reader one of the chief principles deduced from our previous examination into the psychology of our subject, namely that all thinking about things is thinking away from the Shapes suggesting those things, since it involves knowledge which the Shapes in themselves do not afford. And I have insisted particularly upon the dependence of representations of locomotion upon knowledge of three-dimensional existence, because, before proceeding to the relations of Subject and Form in painting, I want to impress once more upon the reader the distinction between the locomotion of things (locomotion active or passive) and what, in my example of the mountain which rises, I have called the empathic movement of lines. Such movement of lines we have seen to be a scheme of activity suggested by our own activity in taking stock of a two-dimensional-shape; an idea, or feeling of activity which we, being normally unaware of its origin in ourselves, project into the shape which has suggested it, precisely as we project our sensation of red from our own eye and mind into the object which has deflected the rays of light in such a way as to give us that red sensation. Such empathic, attributed, movements of lines are therefore intrinsic qualities of the shapes whose active perception has called them forth in our imagination and feeling; and being qualities of the shapes, they inevitably change with every alteration which a shape undergoes, every shape, actively perceived, having its own special movement of lines; and every movement of lines, or combination of movements of lines existing in proportion as we go over and over again the particular shape of which it is a quality. The case is absolutely reversed when we perceive or think of, the locomotion of things. The thought of a thing's locomotion, whether locomotion done by itself or inflicted by something else, necessitates our thinking away from the particular shape before us to another shape more or less different. In other words locomotion necessarily alters what we are looking at or thinking of. If we think of Michel Angelo's seated Moses as getting up, we think away from the approximately pyramidal shape of the statue to the elongated oblong of a standing figure. If we think of the horse of Marcus Aurelius as taking the next step, we think of a straightened leg set on the ground instead of a curved leg suspended in the air. And if we think of the Myronian Discobolus as letting go his quoit and "recovering," we think of the matchless spiral composition as unwinding and straightening itself into a shape as different as that of a tree is different from that of a shell.

The pictorial representation of locomotion affords therefore the extreme example of the difference between discursive thinking about things and contemplation of shape. Bearing this example in mind we cannot fail to understand that, just as the thought of locomotion is opposed to the thought of movement of lines, so, in more or less degree, the thought of the objects and actions represented by a picture or statue, is likely to divert the mind from the pictorial and plastic shapes which do the representing. And we can also understand that the problem unconsciously dealt with by all art (though by no means consciously by every artist) is to execute the order of suggesting interesting facts about things in a manner such as to satisfy at the same time the aesthetic demand for shapes which shall be satisfactory to contemplate. Unless this demand for sensorially, intellectually and empathically desirable shapes be complied with a work of art may be interesting as a diagram, a record or an illustration, but once the facts have been conveyed and assimilated with the rest of our knowledge, there will remain a shape which we shall never want to lay eyes upon. I cannot repeat too often that the differentiating characteristic of art is that it gives its works a value for contemplation independent of their value for fact-transmission, their value as nerve-and-emotion-excitant and of their value for immediate, for practical, utility. This aesthetic value, depending upon the unchanging processes of perception and empathy, asserts itself in answer to every act of contemplative attention, and is as enduring and intrinsic as the other values are apt to be momentary and relative. A Greek vase with its bottom knocked out and with a scarce intelligible incident of obsolete mythology portrayed upon it, has claims upon our feelings which the most useful modern mechanism ceases to have even in the intervals of its use, and which the newspaper, crammed full of the most important tidings, loses as soon as we have taken in its contents.

CHAPTER XVII

THE CO-OPERATION OF THINGS AND SHAPES

DURING the Middle Ages and up to recent times the chief task of painting has been, ostensibly, the telling and re-telling of the same Scripture stories; and, incidentally, the telling them with the addition of constantly new items of information about things: their volume, position, structure, locomotion, light and shade and interactions of texture and atmosphere; to which items must be added others of psychological or (pseudo)-historical kind, how it all came about, in what surroundings and dresses, and accompanied by what feelings. This task, official and unofficial, is in no way different from those fulfilled by the man of science and the practical man, both of whom are perpetually dealing with additional items of information. But mark the difference in the artist's way of accomplishing this task: a scientific fact is embodied in the progressive mass of knowledge, assimilated, corrected; a practical fact is taken in consideration, built upon; but the treatise, the newspaper or letter, once it has conveyed these facts, is forgotten or discarded. The work of art on the contrary is remembered and cherished; or at all events it is made with the intention of being remembered and cherished. In other words and as I shall never tire of repeating, the differentiating characteristic of art is that it makes you think back to the shape once that shape has conveyed its message or done its business of calling your attention or exciting your emotions. And the first and foremost problem, for instance of painting, is that of preventing the beholder's eye from being carried, by lines of perspective, outside the frame and even persistently out of the centre of the picture; the sculptor (and this is the real reason of the sculptor Hildebrand's rules for plastic composition) obeying a similar necessity of keeping the beholder's eye upon the main masses of his statue, instead of diverting it, by projections at different distances, like the sticking out arms and hands of Roman figures. So much for the eye of the body: the beholder's curiosity must similarly not be carried outside the work of art by, for instance, an incomplete figure (legs without a body!) or an unfinished gesture, this being, it seems to roe, the only real reason against the representation of extremely rapid action and transitory positions. But when the task of conveying information implies that the beholder's thoughts be deliberately led from what is represented to what is not, then this centrifugal action is dealt with so as to produce a centripetal one back to the work of art: the painter suggests questions of how and why which get their answers in some item obliging you to take fresh stock of the picture. What Is the meaning of the angels and evidently supernatural horseman in the foreground of Raphael's Heliodorus? Your mind flies to the praying High Priest in the central recess of the temple, and in going backwards and forwards between him, the main group and the scattered astonished bystanders, you are effectually enclosed within the arches of that marvellous composition, and induced to explore every detail of its lovely and noble constituent shapes.

The methods employed thus to keep the beholder's attention inside the work of art while suggesting things beyond it, naturally vary with the exact nature of the non-aesthetic task which has been set to the artist; and with the artist's individual endowment and even more with the traditional artistic formulae of his country and time: Raphael's devices in Heliodorus could not have been compassed by Giotto; and, on the other hand, would have been rejected as "academic" by Manet. But whatever the methods employed, and however obviously they reveal that satisfactory form-contemplation is the one and invariable condition as distinguished from the innumerable varying aims, of all works of art, the Reader will find them discussed not as methods for securing attention to the shape, but as methods of employing that shape for some non-aesthetic purpose; whether that purpose be inducing you to drink out of a cup by making its shape convenient or suggestive; or inducing you to buy a particular commodity by branding its name and virtues on your mind; or fixing your thoughts on the Madonna's sorrows; or awaking your sympathy for Isolde's love tragedy. And yet it is evident that the artist who shaped the cup or designed the poster would be horribly disappointed if you thought only of drinking or of shopping and never gave another look to the cup or the poster; and that Perugino or Wagner would have died of