We are perfectly1 aware that this book does not support Swift’s ethics3 of happiness, for while agreeing that the English satirist’s theory may hold good on a great many occasions, we claim an exception for collectors as a class. In the world of art, art lovers and collectors, to be well deceived means to be living in a fool’s paradise, a most costly4 dwelling5 which promises no eternal joy. On the contrary, the happiness derived6 from being well deceived in this case is generally not only of very short duration but inflicts7 smarting wounds to pride and pocket.
In the world at large there seems to exist a certain benevolence8 towards deluded9 ones, which makes it at times possible for the well deceived to be the only one of his entourage unaware10 that he has been duped. In the world of collectors such a thing is almost an impossibility for, to quote a well-known French art lover: “After pictures by Michelangelo and specimens11 of Medici ware2, the rarest thing to find with collectors is kindliness12.”
The same art lover assures us that in this peculiar13 world not only is kindliness (bienveillance) rare, but the opposite sentiment has been developed almost to the point of genius. Collectors, especially first-rate collectors who have finally emerged into fame through the complex resultant of a good eye, shrewdness and extreme skill in fencing with strong competitors, have a regular talent for flavouring bitter pills for deceived friends and comrades with troublesome innuendoes302 and smarting disclosures, for, as the above-quoted connoisseur15 declares, they have a way of praising with “praise that exasperates16 and with homicidal compliments,” and there is a type of collector who knows his repertory by heart, a man who is a “toreador raffiné—il massacre17 artistement.”
What the neophyte18 can do to avoid being “artistically19” massacred, as the French connoisseur puts it semi-euphemistically, is difficult to say. Books and special treatises21 may explain the nature of the deceit, point out the dangers awaiting him and show how traps are laid and how they work, but to pretend to become a truly safe buyer on the security of knowledge gathered from books and manuals would be like attempting the ascent22 of some dangerous peak on the strength of wisdom drawn24 from works on Alpine25 climbing.
The rudiments26 of the art do not concern so much the knowledge of how to buy as of how not to buy, how to resist, namely, the first impulse, which in an inexperienced art lover proves to be one of the worst dangers. The slow, prudent27 method must be learnt of not listening to first impulses till the first impulses are supported by something better than the innate28 conceit29 of a beginner. We know, of course, that there may be occasions when even a beginner may have cause to regret not having listened to a first impulse, but such a thing is further from the general rule than the beginner claims, and in any case it pays in the long run to let a good chance slip rather than risk becoming the possessor of some expensive would-be chef-d’œuvre.
In addition, during the early stages in particular, a certain amount of scepticism must temper a too ready belief in what the dealer30 has to say or show, in support of his assertion. There will come a time when experience will help the collector to detect more easily than at first alluring31, suggestive information, etc.
Naturally it is not all dealers32 who are on the watch to take advantage of the beginner. On the contrary, there are303 more honest dealers in the antique market than one would think, but the trouble is that the dishonest ones seem to be to the fore33, to be ever there ready to confront the inexperienced novice34, and their noisy deceits become far more known than good, honest dealing35, causing perplexity in some collectors so that it may be they disbelieve the man who is telling the truth and give credence36 to the liar14, who being a perfect master in the art of misrepresentation, seems to be honesty itself.
Here, too, the determination to be rather sceptical as to documents, letters, pedigrees and mercantile evidence may lead the beginner to miss some good opportunity, but the case is rare and such losses are as a rule amply covered in the summing up of the total cost of apprenticeship37, through not having paid for experience the extravagant38 price usually demanded. In due time the art lover’s ability to discern between dealing and dealing will be sharpened, and he will be able to defend himself better.
This merely concerns dealing and experience in distinguishing the genuine from the fake. But even supposing perfection has been attained40 in this part, the fact does not necessarily imply qualification as a connoisseur, collector, expert or even simple lover of art. A collection may be composed of genuine articles and yet be a poor one, utterly41 devoid42 of artistic20 merit or even commercial value of importance. To have paid a high price is no guarantee of merit. There are, as a matter of fact, perfectly genuine paintings for which extravagant fancy prices have been paid, but which in the eyes of a true connoisseur are not worth the nail they hang on.
It is almost impossible to conceive that experience in distinguishing the genuine from the false should be acquired without the attainment43 of some artistic progress prompting discrimination between poor art and mediocre44, and mediocre art and fine art, yet this artistic side is the most difficult to develop to that perfection and semi-intuition of the beautiful, so necessary to the real and first-rate connoisseur.
304 By what method this artistic side may be perfected in the collector is still more difficult to tell, for in this direction experience only counts to a certain extent. In fact as regards this artistic education of the connoisseur we are inclined to repeat with Taine, in his Philosophie de l’Art: “Precepts? Well, two might be given: first to be born with genius—that is your parents’ affair, not mine; second to work a good deal to bring it out, and that is not my business either.”
Here too, then, actual methods are out of the question. They are, perforce, of such a general character as to be no more use than telling a blind man to keep in the middle of the road because there are ditches on either side. It is, further, not uncommon45 for contrary systems to lead to equally happy results according to the person employing them. One antiquary when undecided as to the genuineness of a painting used to have a photograph of it taken, for, he said, he could easily detect the traits of forgery46 on seeing the work in black and white with all colours eliminated, or, to put it in his own words: The faked side sweats out. Another connoisseur held exactly the contrary theory, declaring that he could tell nothing from photos but needed the colours to help to detect the genuineness or fraud of the painting. Perhaps the former had an artistic temperament47 based chiefly upon the charm of form while the latter was what in art is termed a colourist.
In addition, at times another misleading cause may be added which comes under the form of intervening suggestion and may put even a highly gifted artistic temperament off the scent23.
Perhaps an example will best illustrate48 this peculiar interference, which is not only of a circumstantial order, as we have seen in another part of this book, but may be the result of an unconscious parti pris.
Some years ago when Mr. Stanford White imported works of art and antiques for his millionaire patrons, a Mr. X., who owned a fine mansion49 on Fifth Avenue, very much admired an early fifteenth century single andiron that was among305 the imported goods. He wished, however, to have a pair. The suggestion that a modern copy should be made from the only remaining original at first disgusted him, for everyone knows how easily American collectors buy imitations for originals and how disgusted they are if the dealer honestly says that a certain work is an imitation. On being assured that the imitation should be perfect, the new piece was finally ordered and the antiquary arranged for an artistically exact copy of the ancient andiron to be made in Italy. However, possibly because not wishing to be suspected of concocting50 “modern antiques,” or for some other reason, the Italian firm sent a perfect copy of the original in a brand new condition, suggesting that a certain Italian artist living in New York should give it the proper patina51 as he was fully52 initiated53 in the cryptic54 art of making new objects look as old as might be desired. The art critic chosen to come and judge of the final result of the work was, as the artist knew, rather distrustful of Italians and their tricks, as he put it.
The Italian artist did the work as well as it could be done, and knowing that it was going to be judged side by side with the original, the hardest test that can be inflicted55 upon an imitation, he managed to cheat the art critic by being excessively frank and honest, taking advantage of his prejudice against Italians and a probable momentary56 mental attitude. The two pieces were shown in the artist’s atelier, the imitation being placed by the artist in the full light and the original in the most benevolent57 corner, far from the window in a half-shade. The first thought that passed through the art critic’s brain as he entered the studio was that the “tricky Italian” had put the imitation where the light was less strong and the shade more benevolently58 helpful.
“Very good,” he remarked, “but of course even when not in the full light an imitation is always an imitation.”
“But that is the original,” replied the artist, for to make his positive assertion the more definite the critic had been pointing to the wrong piece.
A stony59 silence followed.
306 The story ends here and we do not know whether the critic ever forgave the artist his honest trick. Knowing that the art critic was a real connoisseur, a good exception to the class, we are quite sure that his judgment60 was perverted61 by the preconceived notion that the Italian had placed the imitation in the shade and thus had hardly let his artistic temperament and knowledge of art come into play in forming an opinion, or rather the opinion was already formed, and too quickly expressed, by a semi-subconscious process of reasoning that had nothing in common with art judgment.
So many are the special cases, and so little the assistance generally given to new-comers, that the safest method in conclusion is to have no actual method, to watch and study one’s own temperament, value the first results objectively, to be ready to learn as much as possible from experience under whatever form it comes and finally, like in so many cases of human life and possibilities, to work out one’s own salvation62.
In this way, even if not called to the Olympus of the elect, the art lover will certainly reduce his bad bargains to a minimum—bad bargains in the way of buying the wrong things as far as the genuineness of the article is concerned as well as with regard to its artistic worth. With this he must rest satisfied for, as we gladly repeat once more with the Nestor of French connoisseurs63: “Beware of the collector who never makes a mistake; the strongest is he who makes the fewest mistakes.”
* * * * *
As we have seen, the genus curieux (curio-hunter) comprises a most complex and multiform assembly of types. From the distant ages of Roman dominion64 down to our times, collectomania has produced characters graduated in originality65 from the grotesque66 to the tragic67, the false to the genuine, the sordid68 or wicked like Mark Antony and Verres to noble representatives like Julius Cæsar, Augustus and Agrippa.
307 Curiously69 enough the noble type of collector and the usefulness of his mission have generally escaped the observation of writers of all ages. They seem to have been quicker to see the grotesque side of collectomania than its utility. Martial70, Juvenal, Pliny, Seneca and others are not dissimilar in their remarks from—say, Molière and La Bruyère.
So strong is the inclination71 to place the types in a grotesque setting, to make them the target of witty72 sallies, that they very often mistake oddities for signs of idiocy73, idiosyncrasies and peculiarities74 for craziness, and, carrying their analysis no further, they let loose the vein75 of their satire76 on people whose passion for collecting has been of extreme use to the intellectual world, greatly assisting progress and the civilization of humanity.
“Just like a donkey beholding77 a lyre,” gibes78 an old Greek epigram in allusion79 to collectors who, while buying eagerly, give so little time, or none at all, to the enjoyment80 of the artistic merits of their acquisitions. Addressing one of his contemporaries who had a passion for collecting manuscripts and volumes but no inclination to read them, Lucian remarks: “Why so many literary works? Do you collect them in order to lie on the learned thoughts of others, or to paste the parchment of the volumes to your skin? With it all you will not become a jot81 more learned; a monkey is always a monkey, even though covered with gilded82 garments.”
To follow up the special case of book-collecting to which Lucian’s remark casually83 leads us, the same sentiment as that of the Greek writer was entertained centuries later by Petrarch and Robert Estienne. The former was a poet and bibliophile84, the latter a famous printer, author of the Thesauros linguæ latinæ. The two did not spare satires85 on the mere39 collector of books.
A like attitude is taken towards Mazarin by a mediocre poet of La Fronde, who reproaches the Cardinal86 with collecting books without reading them; the same reproach that contemporary writers make to Magliabechi, a passionate87 collector of rare editions who never went further in a book308 than the title-page. Yet, to confine ourselves to these alone, to Mazarin is due one of the finest libraries of Paris which still bears his name, and by his careful, patient work, Magliabechi was the founder88 of the Magliabechiana, now the National Library of Florence, a marvel89 and model of historical character to other more modern institutions of the kind. These two persistent90 and passionate book collectors have certainly contributed more to science and its progress than many of those scholars who made fun of their hobby.
It must be taken into consideration that collecting, after all, is a passion, at times a deep and firmly rooted one, and that passion, like love, in its most exalted91 expression does not represent normality, but while on the one hand presenting qualities of an intuitive character, can be coupled with oddities and idiosyncrasies, frequently the inevitable92 heritage of originality.
Hannibal who stored his money in the hollow of the bronze statues of his collection, Sulla who put to death citizens to seize their rare pieces of art, and Julius Cæsar who travelled with his cherished objects of virtu, are known to us as collectors mostly through their peculiarities, the amusing anecdotal side of a passion, certain to be exploited by a writer, be he chronicler or historian.
Yet, to go back to the unjustified and indiscriminating spirit of satirists, both of ancient and more recent times, which tends to consider the collector a maniac94 or fool, many a Greek and Roman chef-d’œuvre of art has nevertheless been spared to our admiration95 by the patient persistence96 and art-loving care of collectors.
It would, indeed, be interesting to follow the passage of some of the most noted97 specimens of past art. If one could trace the true history of each one of these objects in all its details, it would perhaps give us the history of the collecting passion together with tangible98 proof of its merits and utility.
It would, indeed, not only be interesting but also instructive to know the vicissitudes99 of some of the works of art that309 have come down to us. The few hints existing as to the lineage of owners of some of the most famous pieces of Greek and Roman art, certainly promise interest even though marred100 at times by the fact that much of the information rests upon the vague authority of tradition, or is strongly doubted by modern criticism.
“We owe, it is more than possible, the Venus of the Hermitage to Cæsar; the well-known ‘Whetter’ has almost certainly been saved to our admiration by Lucullus, just as Cicero may be thanked for the ‘Demosthenes’ and the collecting passion of Sallust has handed down to us the ‘Faun,’ the ‘Hermaphrodite’ and the ‘Vase’ of the Villa101 Borghese.”
These remarks of a well-known French collector who mainly notes works contained in the Louvre Museum might be extended to many other collections, especially those of Rome, where several of the works of art have old historical records of undisputed character.
From the Renaissance102 down to our own days the pedigrees of celebrated103 works of art are not only surer, but present at times a less interrupted line of descent. With such it is not uncommon to find a rare object pass from one collector to another, receiving the same care and consideration as though passing from father to son as a cherished heirloom—and it is, in fact, passing from one to another member of the same family, the family bound by an identical burning passion, that of collecting.
As to the essence of this passion, so often confounded with mania—a mistake calling forth104 the following comment from a French collector: “... confondre la ‘manie’ avec la curiosité, c’est prendre l’hysterie pour l’amour, ‘la Belle105 Helenè’ pour l’Iliade”—we should like to quote Gersaint, one of the few men who as art dealer and collector in one, what might be styled private dealer in modern phrase, impersonated the passion, as we have said, in its highest expression among the many collectors of the eighteenth century. It must be understood, of course, that Gersaint,310 one of these maniacs106 in, say, La Bruyère’s opinion, was a representative of those passionate collectors who subordinate every other passion of mankind to the one they have made the sole aim of their lives. “... A curieux,” says this unilateral lover but not hobbyist collector, “has the advantage of not falling an easy prey107 to the many passions so familiar to the human family: the curiosité fills all the empty spaces of his leisure moments. Entertained by his cherished possessions, he has time only for working at the advance of his curiosité, and his cabinet becomes the centre of all his pleasures, and the seat of all his passions.”
The outsider and half-way-insider will agree that this is a trifle too much; but, after all, the great collectors who have left to the museums of their countries fortunes that would have been lost but for their intense passion—treasures of art left by the ignorant to the doom108 of decay—have all felt, more or less, the burning passion described by Gersaint, in the passage quoted which goes on to assert that a true paradise awaits the perfect collector, who is never bored, and never the prey of spleen.
Without discussing the promises held out by Gersaint, as the perfect collector is, to our knowledge, rare, let us state that our book does not hope to urge any reader on to the perfection that ushers109 into Gersaint’s bliss110, but if the brief glimpse we have given of Collectomania with its pleasures and dangers should convince some really passionate lover of art that collecting has a nobler aim than that of mere pleasure, if we should discourage a Tongilius or Paullus, or if this work should scare some modern Clarinus and do away with a noisy, useless up-to-date Trimalchus, we shall feel that the purpose of the book has been justified93 to some extent.
The End
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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ware
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| n.(常用复数)商品，货物 | |
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ethics
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| n.伦理学；伦理观，道德标准 | |
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costly
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| adj.昂贵的，价值高的，豪华的 | |
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dwelling
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| n.住宅，住所，寓所 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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inflicts
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benevolence
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deluded
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unaware
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specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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kindliness
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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liar
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connoisseur
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| n.鉴赏家，行家，内行 | |
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exasperates
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| n.激怒，触怒( exasperate的名词复数 )v.激怒，触怒( exasperate的第三人称单数 ) | |
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massacre
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neophyte
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artistically
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artistic
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treatises
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ascent
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scent
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alpine
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rudiments
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prudent
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innate
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conceit
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dealer
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alluring
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dealers
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fore
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novice
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dealing
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credence
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apprenticeship
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extravagant
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mere
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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utterly
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devoid
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attainment
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mediocre
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uncommon
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forgery
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| n.伪造的文件等，赝品，伪造（行为） | |
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temperament
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illustrate
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| v.举例说明，阐明；图解，加插图 | |
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mansion
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concocting
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| v.将（尤指通常不相配合的）成分混合成某物( concoct的现在分词 )；调制；编造；捏造 | |
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patina
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| n.铜器上的绿锈，年久而产生的光泽 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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initiated
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cryptic
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| adj.秘密的，神秘的，含义模糊的 | |
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inflicted
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momentary
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| adj.片刻的，瞬息的；短暂的 | |
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benevolent
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| adj.仁慈的，乐善好施的 | |
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benevolently
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| adv.仁慈地，行善地 | |
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stony
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| adj.石头的，多石头的，冷酷的，无情的 | |
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judgment
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perverted
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| adj.不正当的v.滥用( pervert的过去式和过去分词 )；腐蚀；败坏；使堕落 | |
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salvation
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| n.（尤指基督）救世，超度，拯救，解困 | |
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connoisseurs
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| n.鉴赏家，鉴定家，行家( connoisseur的名词复数 ) | |
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dominion
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| n.统治，管辖，支配权；领土，版图 | |
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originality
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| n.创造力，独创性；新颖 | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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martial
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| adj.战争的，军事的，尚武的，威武的 | |
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inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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witty
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| adj.机智的，风趣的 | |
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idiocy
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| n.愚蠢 | |
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peculiarities
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| n. 特质, 特性, 怪癖, 古怪 | |
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vein
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| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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satire
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| n.讽刺，讽刺文学，讽刺作品 | |
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beholding
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| v.看，注视( behold的现在分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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gibes
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| vi.嘲笑，嘲弄（gibe的第三人称单数形式） | |
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allusion
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| n.暗示，间接提示 | |
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enjoyment
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| n.乐趣；享有；享用 | |
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jot
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| n.少量；vi.草草记下；vt.匆匆写下 | |
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gilded
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| a.镀金的，富有的 | |
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casually
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| adv.漠不关心地，无动于衷地，不负责任地 | |
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bibliophile
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| n.爱书者；藏书家 | |
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satires
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| 讽刺，讥讽( satire的名词复数 )； 讽刺作品 | |
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cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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Founder
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| n.创始者，缔造者 | |
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marvel
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| vi.(at)惊叹vt.感到惊异；n.令人惊异的事 | |
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persistent
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| adj.坚持不懈的，执意的；持续的 | |
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exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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justified
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| a.正当的，有理的 | |
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maniac
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| n.精神癫狂的人；疯子 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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persistence
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| n.坚持，持续，存留 | |
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noted
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| adj.著名的，知名的 | |
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tangible
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| adj.有形的，可触摸的，确凿的，实际的 | |
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vicissitudes
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| n.变迁，世事变化；变迁兴衰( vicissitude的名词复数 )；盛衰兴废 | |
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marred
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| adj. 被损毁, 污损的 | |
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villa
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| n.别墅，城郊小屋 | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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forth
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| adv.向前；向外，往外 | |
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belle
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| n.靓女 | |
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maniacs
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| n.疯子（maniac的复数形式） | |
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prey
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| n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨 | |
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doom
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| n.厄运，劫数；v.注定，命定 | |
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109
ushers
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| n.引座员( usher的名词复数 )；招待员；门房；助理教员v.引，领，陪同( usher的第三人称单数 ) | |
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bliss
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| n.狂喜，福佑，天赐的福 | |
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