XXII. ANENT ART PRODUCTION.

Yesterday, at Bordighera, I strolled up the hills behind the town to Sasso. It is a queer little cluster of gleaming white-washed houses that top the crest¹ of a steep ridge²; and, like many other Italian villages, it makes a brave show from a distance, though within it is full of evil smells and all uncleanness. But I found it had a church—a picturesquely⁴ ugly and dilapidated church; and without and within, this church was decorated by inglorious hands with very na?ve and rudimentary frescoes⁶. The Four Evangelists were there, in flowing blue robes; and the Four Greater Prophets, with long white beards; and the Madonna, appearing in most wooden clouds; and the Patron Saint tricked out for his Festa in gorgeous holiday episcopal vestments. That was all—just the common everyday Italian country church that everybody has seen turned out to pattern with manufacturing regularity⁸ a hundred times over! Yet, as I sat among the olive-terraces looking down the steep slope into the Borghetto valley, and across the gorge⁷ to the green pines on the Cima, it set me thinking. 'Tis a bad habit one falls into when one has nothing better to turn one's mind to.

We English, coming to Italy with our ideas fully⁹ formed about everything on heaven and earth, naturally say to ourselves, "Great heart alive, what sadly degraded frescoes! To think the art of Raphael and Andrea del Sarto should degenerate¹⁰ even here, in their own land, to such a childish level!" But we are wrong, for all that. It is Raphael and Andrea who rose, not my poor nameless Sasso artists who sank and degenerated¹¹. Italy was capable of producing her great painters in her own great day, just because in thousands of such Italian villages there were work-a-day artisans in form and colour capable of turning out such ridiculous daubs as those that decorate this tawdry church on the Ligurian hilltop.

We English, in short, think of it all the wrong way uppermost. We think of it topsy-turvy, beginning at the end, while evolution invariably begins at the beginning. The Raphaels and Andreas, to put it in brief, were the final flower and fullest outcome of whole races of church decorators in infantile fresco⁵.

Everywhere you go in Italy, this truth is forced upon your attention even to the present day. Art here is no exotic. It smacks¹² of the soil; it springs spontaneous, like a weed; it burgeons¹³ of itself out of the heart of the people. Not high art, understand well; not the art of Burne-Jones and Whistler and Puvis de Chavannes and Sar Peladan. Commonplace everyday art, that is a trade and a handicraft, like the joiner's or the shoemaker's. Look up at your ceiling; it's overrun with festoons of crude red and blue flowers, or it's covered with cupids and graces, or it bristles¹⁴ with arabesques¹⁵ and unmeaning phantasies. Every wall is painted; every grotto¹⁶ decorated. Sham¹⁷ landscapes, sham loggias, sham parapets are everywhere. The sham windows themselves are provided, not only with sham blinds and sham curtains, but even with sham coquettes making sham eyes or waving sham handkerchiefs at passers-by below them. Open-air fresco painting is still a living art, an art practised by hundreds and thousands of craftsmen¹⁸, an art as alive as cookery or weaving. The Italian decorates everything; his pottery¹⁹, his house, his church, his walls, his palaces. And the only difference he feels between the various cases is, that in some of them a higher type of art is demanded by wealth and skill than in the others. No wonder, therefore, he blossomed out at last into Michael Angelo's frescoes in the Sistine Chapel²⁰!

To us English, on the contrary, high art is something exotic, separate, alone, sui generis. We never think of the plaster star in the middle of our ceiling as belonging even to the same range of ideas as, say, the frescoes in the Houses of Parliament.

A nation in such a condition as that is never truly artistic²¹. The artist with us, even now, is an exceptional product. Art for a long time in England had nothing at all to do with the life of the people. It was a luxury for the rich, a curious thing for ladies' and gentlemen's consumption, as purely²² artificial as the stuccoed Italian villa³ in which they insisted on shivering in our chilly²³ climate. And the pictures it produced were wholly alien to the popular wants and the popular feelings; they were part of an imported French, Italian, and Flemish tradition. English art has only slowly outgrown²⁴ this stage, just in proportion as truly artistic handicrafts have sprung up here and there, and developed themselves among us. Go into the Cantagalli or the Ginori potteries²⁵ at Florence, and you will see mere²⁶ boys and girls, untrained children of the people, positively²⁷ disporting²⁸ themselves, with childish glee, in painting plates and vases. You will see them, not slavishly copying a given design of the master's, but letting their fancy run riot in lithe²⁹ curves and lines, in griffons and dragons and floral twists-and-twirls of playful extravagance. They revel³⁰ in ornament³¹. Now, it is out of the loins of people like these that great artists spring by nature—not State-taught, artificial, made-up artists, but the real spontaneous product, the Lippi and Botticelli, the hereditary³² craftsmen, the born painters. And in England nowadays it is a significant fact that a large proportion of the truest artists—the innovators, the men who are working out a new style of English art for themselves, in accordance with the underlying³³ genius of the British temperament³⁴, have sprung from the great industrial towns—Birmingham, Manchester, Leicester—where artistic handicrafts are now once more renascent³⁵. I won't expose myself to further ridicule³⁶ by repeating here (what I nevertheless would firmly believe, were it not for the scoffers) that a large proportion of them are of Celtic descent—belong, in other words, to that section of the complex British nationality in which the noble traditions of decorative³⁷ art never wholly died out—that section which was never altogether enslaved and degraded by the levelling and cramping³⁸ and soul-destroying influences of manufacturing industrialism.

In Italy, art is endemic. In England, in spite of all we have done to stimulate³⁹ it of late years with guano and other artificial manures, it is still sporadic⁴⁰.

The case of music affords us an apt parallel. Till very lately, I believe, our musical talent in Britain came almost entirely⁴¹ from the cathedral towns. And why? Because there, and there alone, till quite a recent date, there existed a hereditary school of music, a training of musicians from generation to generation among the mass of the people. Not only were the cathedral services themselves a constant school of taste in music, but successive generations of choristers and organists gave rise to something like a musical caste in our episcopal centres. It is true, our vocalists have always come mainly from Wales, from the Scotch⁴³ Highlands, from Yorkshire, from Ireland. But for that there is, I believe, a sufficient physical reason. For these are clearly the most mountainous parts of the United Kingdom; and the clear mountain air seems to produce on the average a better type of human larynx than the mists of the level. The men of the lowland, say the Tyrolese, croak⁴⁴ like frogs in their marshes⁴⁵; but the men of the upland sing like nightingales on their tree-tops. And indeed, it would seem as if the mountain people were always calling to one another across intervening valleys, always singing and whistling and shouting over their work in a way that gives tone to the whole vocal⁴² mechanism⁴⁶. Witness Welsh penillion singing. And wherever this fine physical endowment goes hand in hand with a delicate ear and a poetic⁴⁷ temperament, you get your great vocalist, your Sims Reeves or your Patti. But in England proper it was only in the cathedral towns that music was a living reality to the people; and it was in the cathedral towns, accordingly, during the dark ages of art, that exceptional musical ability was most likely to show itself. More particularly was this so on the Welsh border, where the two favouring influences of race and practice coincided—at Gloucester, Worcester, Hereford, long known for the most musical towns in England.

Cause and effect act and react. Art is a product of the artistic temperament. The artistic temperament is a product of the long hereditary cultivation⁴⁸ of art. And where a broad basis of this temperament exists among the people, owing to intermixture of artistically-minded stocks, one is liable to get from time to time that peculiar⁴⁹ combination of characteristics—sensuous, intellectual, spiritual—which results in the highest and truest artist.

1 crest   

n.顶点；饰章；羽冠；vt.达到顶点；vi.形成浪尖

参考例句：

• The rooster bristled his crest.公鸡竖起了鸡冠。
• He reached the crest of the hill before dawn.他于黎明前到达山顶。

2 ridge   

n.山脊；鼻梁；分水岭

参考例句：

• We clambered up the hillside to the ridge above.我们沿着山坡费力地爬上了山脊。
• The infantry were advancing to attack the ridge.步兵部队正在向前挺进攻打山脊。

3 villa   

n.别墅，城郊小屋

参考例句：

• We rented a villa in France for the summer holidays.我们在法国租了一幢别墅消夏。
• We are quartered in a beautiful villa.我们住在一栋漂亮的别墅里。

4 picturesquely   

参考例句：

• In the building trade such a trader is picturesquely described as a "brass plate" merchant. 在建筑行业里，这样一个生意人可以被生动地描述为著名商人。

5 fresco   

n.壁画；vt.作壁画于

参考例句：

• This huge fresco is extremely clear and just like nature itself.It is very harmonious.这一巨幅壁画，清晰有致且又浑然天成，十分和谐。
• So it is quite necessary to study the influence of visual thinking over fresco.因此，研究视觉思维对壁画的影响和作用是十分必要的。

6 frescoes   

n.壁画( fresco的名词复数 )；温壁画技法，湿壁画

参考例句：

• The Dunhuang frescoes are gems of ancient Chinese art. 敦煌壁画是我国古代艺术中的瑰宝。 来自《现代汉英综合大词典》
• The frescoes in these churches are magnificent. 这些教堂里的壁画富丽堂皇。 来自《简明英汉词典》

7 gorge   

n.咽喉，胃，暴食，山峡；v.塞饱，狼吞虎咽地吃

参考例句：

• East of the gorge leveled out.峡谷东面地势变得平坦起来。
• It made my gorge rise to hear the news.这消息令我作呕。

8 regularity   

n.规律性，规则性；匀称，整齐

参考例句：

• The idea is to maintain the regularity of the heartbeat.问题就是要维持心跳的规律性。
• He exercised with a regularity that amazed us.他锻炼的规律程度令我们非常惊讶。

9 fully   

adv.完全地，全部地，彻底地；充分地

参考例句：

• The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气，然后全部呼出。
• They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。

10 degenerate   

v.退步，堕落；adj.退步的，堕落的；n.堕落者

参考例句：

• He didn't let riches and luxury make him degenerate.他不因财富和奢华而自甘堕落。
• Will too much freedom make them degenerate?太多的自由会令他们堕落吗？

11 degenerated   

衰退，堕落，退化( degenerate的过去式和过去分词 )

参考例句：

• The march degenerated into a riot. 示威游行变成了暴动。
• The wide paved road degenerated into a narrow bumpy track. 铺好的宽阔道路渐渐变窄，成了一条崎岖不平的小径。

12 smacks   

掌掴（声）( smack的名词复数 )； 海洛因； （打的）一拳； 打巴掌

参考例句：

• His politeness smacks of condescension. 他的客气带有屈尊俯就的意味。
• It was a fishing town, and the sea was dotted with smacks. 这是个渔业城镇，海面上可看到渔帆点点。

13 burgeons   

v.发芽，抽枝( burgeon的第三人称单数 )；迅速发展；发（芽），抽（枝）

参考例句：

14 bristles   

短而硬的毛发，刷子毛( bristle的名词复数 )

参考例句：

• the bristles on his chin 他下巴上的胡楂子
• This job bristles with difficulties. 这项工作困难重重。

15 arabesques   

n.阿拉伯式花饰( arabesque的名词复数 )；错综图饰；阿拉伯图案；阿拉贝斯克芭蕾舞姿（独脚站立，手前伸，另一脚一手向后伸）

参考例句：

16 grotto   

n.洞穴

参考例句：

• We reached a beautiful grotto,whose entrance was almost hiden by the vine.我们到达了一个美丽的洞穴，洞的进口几乎被藤蔓遮掩著。
• Water trickles through an underground grotto.水沿着地下岩洞流淌。

17 sham   

n./adj.假冒(的)，虚伪(的)

参考例句：

• They cunningly played the game of sham peace.他们狡滑地玩弄假和平的把戏。
• His love was a mere sham.他的爱情是虚假的。

18 craftsmen   

n. 技工

参考例句：

• rugs handmade by local craftsmen 由当地工艺师手工制作的小地毯
• The craftsmen have ensured faithful reproduction of the original painting. 工匠保证要复制一幅最接近原作的画。

19 pottery   

n.陶器，陶器场

参考例句：

• My sister likes to learn art pottery in her spare time.我妹妹喜欢在空余时间学习陶艺。
• The pottery was left to bake in the hot sun.陶器放在外面让炎热的太阳烘晒焙干。

20 chapel   

n.小教堂，殡仪馆

参考例句：

• The nimble hero,skipped into a chapel that stood near.敏捷的英雄跳进近旁的一座小教堂里。
• She was on the peak that Sunday afternoon when she played in chapel.那个星期天的下午，她在小教堂的演出，可以说是登峰造极。

21 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

22 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

23 chilly   

adj.凉快的，寒冷的

参考例句：

• I feel chilly without a coat.我由于没有穿大衣而感到凉飕飕的。
• I grew chilly when the fire went out.炉火熄灭后，寒气逼人。

24 outgrown   

长[发展] 得超过（某物）的范围( outgrow的过去分词 )； 长[发展]得不能再要（某物）； 长得比…快； 生长速度超过

参考例句：

• She's already outgrown her school uniform. 她已经长得连校服都不能穿了。
• The boy has outgrown his clothes. 这男孩已长得穿不下他的衣服了。

25 potteries   

n.陶器( pottery的名词复数 )；陶器厂；陶土；陶器制造（术）

参考例句：

• Almost all potteries found in the tomb were sacrifices. 几乎所有在这个墓里找到的陶器都是祭品。 来自互联网

26 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

27 positively   

adv.明确地，断然，坚决地；实在，确实

参考例句：

• She was positively glowing with happiness.她满脸幸福。
• The weather was positively poisonous.这天气着实讨厌。

28 disporting   

v.嬉戏，玩乐，自娱( disport的现在分词 )

参考例句：

• The bears were disporting themselves in the water. 那些熊在水中嬉戏。 来自辞典例句
• A crowd of children disporting are running about around grow-ups, which caused grow-ups' scold. 一群嬉戏玩耍的孩子，始终围着大人们追来跑去，短不了惹得人们骂上几句。 来自互联网

29 lithe   

adj.(指人、身体)柔软的，易弯的

参考例句：

• His lithe athlete's body had been his pride through most of the fifty - six years.他那轻巧自如的运动员体格，五十六年来几乎一直使他感到自豪。
• His walk was lithe and graceful.他走路轻盈而优雅。

30 revel   

vi.狂欢作乐，陶醉；n.作乐，狂欢

参考例句：

• She seems to revel in annoying her parents.她似乎以惹父母生气为乐。
• The children revel in country life.孩子们特别喜欢乡村生活。

31 ornament   

v.装饰，美化；n.装饰，装饰物

参考例句：

• The flowers were put on the table for ornament.花放在桌子上做装饰用。
• She wears a crystal ornament on her chest.她的前胸戴了一个水晶饰品。

32 hereditary   

adj.遗传的，遗传性的，可继承的，世袭的

参考例句：

• The Queen of England is a hereditary ruler.英国女王是世袭的统治者。
• In men,hair loss is hereditary.男性脱发属于遗传。

33 underlying   

adj.在下面的，含蓄的，潜在的

参考例句：

• The underlying theme of the novel is very serious.小说隐含的主题是十分严肃的。
• This word has its underlying meaning.这个单词有它潜在的含义。

34 temperament   

n.气质，性格，性情

参考例句：

• The analysis of what kind of temperament you possess is vital.分析一下你有什么样的气质是十分重要的。
• Success often depends on temperament.成功常常取决于一个人的性格。

35 renascent   

adj.新生的

参考例句：

• Jesus makes them renascent then, and turns them into wanted appearance.耶稣于是让他们复活，变成他们想要的样子。
• With the elevation of the integrated power of China, nationalism turns to renascent tendency.随着中国综合实力的提升，民族主义呈复兴之势。

36 ridicule   

v.讥讽，挖苦；n.嘲弄

参考例句：

• You mustn't ridicule unfortunate people.你不该嘲笑不幸的人。
• Silly mistakes and queer clothes often arouse ridicule.荒谬的错误和古怪的服装常会引起人们的讪笑。

37 decorative   

adj.装饰的，可作装饰的

参考例句：

• This ware is suitable for decorative purpose but unsuitable for utility.这种器皿中看不中用。
• The style is ornate and highly decorative.这种风格很华丽，而且装饰效果很好。

38 cramping   

图像压缩

参考例句：

• The bleeding may keep my left hand from cramping. 淌血会叫我的左手不抽筋。
• This loss of sodium can cause dehydration and cramping. 钠流失会造成脱水和抽筋。

39 stimulate   

vt.刺激，使兴奋；激励，使…振奋

参考例句：

• Your encouragement will stimulate me to further efforts.你的鼓励会激发我进一步努力。
• Success will stimulate the people for fresh efforts.成功能鼓舞人们去作新的努力。

40 sporadic   

adj.偶尔发生的 [反]regular；分散的

参考例句：

• The sound of sporadic shooting could still be heard.仍能听见零星的枪声。
• You know this better than I.I received only sporadic news about it.你们比我更清楚，而我听到的只是零星消息。

41 entirely   

ad.全部地，完整地；完全地，彻底地

参考例句：

• The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
• His life was entirely given up to the educational work. 他的一生统统献给了教育工作。

42 vocal   

adj.直言不讳的；嗓音的；n.[pl.]声乐节目

参考例句：

• The tongue is a vocal organ.舌头是一个发音器官。
• Public opinion at last became vocal.终于舆论哗然。

43 scotch   

n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的

参考例句：

• Facts will eventually scotch these rumours.这种谣言在事实面前将不攻自破。
• Italy was full of fine views and virtually empty of Scotch whiskey.意大利多的是美景，真正缺的是苏格兰威士忌。

44 croak   

vi.嘎嘎叫，发牢骚

参考例句：

• Everyone seemed rather out of sorts and inclined to croak.每个人似乎都有点不对劲，想发发牢骚。
• Frogs began to croak with the rainfall.蛙随着雨落开始哇哇叫。

45 marshes   

n.沼泽，湿地( marsh的名词复数 )

参考例句：

• Cows were grazing on the marshes. 牛群在湿地上吃草。
• We had to cross the marshes. 我们不得不穿过那片沼泽地。 来自《简明英汉词典》

46 mechanism   

n.机械装置；机构，结构

参考例句：

• The bones and muscles are parts of the mechanism of the body.骨骼和肌肉是人体的组成部件。
• The mechanism of the machine is very complicated.这台机器的结构是非常复杂的。

47 poetic   

adj.富有诗意的，有诗人气质的，善于抒情的

参考例句：

• His poetic idiom is stamped with expressions describing group feeling and thought.他的诗中的措辞往往带有描写群体感情和思想的印记。
• His poetic novels have gone through three different historical stages.他的诗情小说创作经历了三个不同的历史阶段。

48 cultivation   

n.耕作，培养，栽培（法），养成

参考例句：

• The cultivation in good taste is our main objective.培养高雅情趣是我们的主要目标。
• The land is not fertile enough to repay cultivation.这块土地不够肥沃，不值得耕种。

49 peculiar   

adj.古怪的，异常的；特殊的，特有的

参考例句：

• He walks in a peculiar fashion.他走路的样子很奇特。
• He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。