We wandered all over the town, enjoying whatever was going on in the streets. We took one omnibus ride, and as I did not speak Italian and could not ask the price, I held out some copper4 coins to the conductor, and he took two. Then he went and got his tariff5 card and showed me that he had taken only the right sum. So I made a note—Italian omnibus conductors do not cheat.
Near the Cathedral I saw another instance of probity6. An old man was peddling7 dolls and toy fans. Two small American children bought fans, and one gave the old man a franc and three copper coins, and both started away; but they were called back, and the franc and one of the coppers8 were restored to them. Hence it is plain that in Italy, parties connected with the drama and the omnibus and the toy interests do not cheat.
The stocks of goods in the shops were not extensive, generally. In the vestibule of what seemed to be a clothing store, we saw eight or ten wooden dummies9 grouped together, clothed in woolen10 business suits and each marked with its price. One suit was marked forty-five francs—nine dollars. Harris stepped in and said he wanted a suit like that. Nothing easier: the old merchant dragged in the dummy11, brushed him off with a broom, stripped him, and shipped the clothes to the hotel. He said he did not keep two suits of the same kind in stock, but manufactured a second when it was needed to reclothe the dummy.
In another quarter we found six Italians engaged in a violent quarrel. They danced fiercely about, gesticulating with their heads, their arms, their legs, their whole bodies; they would rush forward occasionally with a sudden access of passion and shake their fists in each other’s very faces. We lost half an hour there, waiting to help cord up the dead, but they finally embraced each other affectionately, and the trouble was over. The episode was interesting, but we could not have afforded all the time to it if we had known nothing was going to come of it but a reconciliation12. Note made—in Italy, people who quarrel cheat the spectator.
We had another disappointment afterward13. We approached a deeply interested crowd, and in the midst of it found a fellow wildly chattering14 and gesticulating over a box on the ground which was covered with a piece of old blanket. Every little while he would bend down and take hold of the edge of the blanket with the extreme tips of his fingertips, as if to show there was no deception—chattering away all the while—but always, just as I was expecting to see a wonder feat16 of legerdemain17, he would let go the blanket and rise to explain further. However, at last he uncovered the box and got out a spoon with a liquid in it, and held it fair and frankly18 around, for people to see that it was all right and he was taking no advantage—his chatter15 became more excited than ever. I supposed he was going to set fire to the liquid and swallow it, so I was greatly wrought19 up and interested. I got a cent ready in one hand and a florin in the other, intending to give him the former if he survived and the latter if he killed himself—for his loss would be my gain in a literary way, and I was willing to pay a fair price for the item—but this impostor ended his intensely moving performance by simply adding some powder to the liquid and polishing the spoon! Then he held it aloft, and he could not have shown a wilder exultation20 if he had achieved an immortal21 miracle. The crowd applauded in a gratified way, and it seemed to me that history speaks the truth when it says these children of the south are easily entertained.
We spent an impressive hour in the noble cathedral, where long shafts22 of tinted23 light were cleaving24 through the solemn dimness from the lofty windows and falling on a pillar here, a picture there, and a kneeling worshiper yonder. The organ was muttering, censers were swinging, candles were glinting on the distant altar and robed priests were filing silently past them; the scene was one to sweep all frivolous25 thoughts away and steep the soul in a holy calm. A trim young American lady paused a yard or two from me, fixed26 her eyes on the mellow27 sparks flecking the far-off altar, bent28 her head reverently29 a moment, then straightened up, kicked her train into the air with her heel, caught it deftly30 in her hand, and marched briskly out.
We visited the picture-galleries and the other regulation “sights” of Milan—not because I wanted to write about them again, but to see if I had learned anything in twelve years. I afterward visited the great galleries of Rome and Florence for the same purpose. I found I had learned one thing. When I wrote about the Old Masters before, I said the copies were better than the originals. That was a mistake of large dimensions. The Old Masters were still unpleasing to me, but they were truly divine contrasted with the copies. The copy is to the original as the pallid31, smart, inane32 new wax-work group is to the vigorous, earnest, dignified33 group of living men and women whom it professes34 to duplicate. There is a mellow richness, a subdued35 color, in the old pictures, which is to the eye what muffled36 and mellowed37 sound is to the ear. That is the merit which is most loudly praised in the old picture, and is the one which the copy most conspicuously38 lacks, and which the copyist must not hope to compass. It was generally conceded by the artists with whom I talked, that that subdued splendor39, that mellow richness, is imparted to the picture by age. Then why should we worship the Old Master for it, who didn’t impart it, instead of worshiping Old Time, who did? Perhaps the picture was a clanging bell, until Time muffled it and sweetened it.
In conversation with an artist in Venice, I asked: “What is it that people see in the Old Masters? I have been in the Doge’s palace and I saw several acres of very bad drawing, very bad perspective, and very incorrect proportions. Paul Veronese’s dogs to not resemble dogs; all the horses look like bladders on legs; one man had a right leg on the left side of his body; in the large picture where the Emperor (Barbarossa?) is prostrate40 before the Pope, there are three men in the foreground who are over thirty feet high, if one may judge by the size of a kneeling little boy in the center of the foreground; and according to the same scale, the Pope is seven feet high and the Doge is a shriveled dwarf41 of four feet.”
The artist said:
“Yes, the Old Masters often drew badly; they did not care much for truth and exactness in minor42 details; but after all, in spite of bad drawing, bad perspective, bad proportions, and a choice of subjects which no longer appeal to people as strongly as they did three hundred years ago, there is a something about their pictures which is divine—a something which is above and beyond the art of any epoch43 since—a something which would be the despair of artists but that they never hope or expect to attain44 it, and therefore do not worry about it.”
That is what he said—and he said what he believed; and not only believed, but felt.
Reasoning—especially reasoning, without technical knowledge—must be put aside, in cases of this kind. It cannot assist the inquirer. It will lead him, in the most logical progression, to what, in the eyes of artists, would be a most illogical conclusion. Thus: bad drawing, bad proportion, bad perspective, indifference46 to truthful47 detail, color which gets its merit from time, and not from the artist—these things constitute the Old Master; conclusion, the Old Master was a bad painter, the Old Master was not an Old Master at all, but an Old Apprentice48. Your friend the artist will grant your premises49, but deny your conclusion; he will maintain that notwithstanding this formidable list of confessed defects, there is still a something that is divine and unapproachable about the Old Master, and that there is no arguing the fact away by any system of reasoning whatsoever50.
I can believe that. There are women who have an indefinable charm in their faces which makes them beautiful to their intimates, but a cold stranger who tried to reason the matter out and find this beauty would fail. He would say of one of these women: This chin is too short, this nose is too long, this forehead is too high, this hair is too red, this complexion51 is too pallid, the perspective of the entire composition is incorrect; conclusion, the woman is not beautiful. But her nearest friend might say, and say truly, “Your premises are right, your logic45 is faultless, but your conclusion is wrong, nevertheless; she is an Old Master—she is beautiful, but only to such as know her; it is a beauty which cannot be formulated52, but it is there, just the same."
I found more pleasure in contemplating53 the Old Masters this time than I did when I was in Europe in former years, but still it was a calm pleasure; there was nothing overheated about it. When I was in Venice before, I think I found no picture which stirred me much, but this time there were two which enticed54 me to the Doge’s palace day after day, and kept me there hours at a time. One of these was Tintoretto’s three-acre picture in the Great Council Chamber55. When I saw it twelve years ago I was not strongly attracted to it—the guide told me it was an insurrection in heaven—but this was an error.
The movement of this great work is very fine. There are ten thousand figures, and they are all doing something. There is a wonderful “go” to the whole composition. Some of the figures are driving headlong downward, with clasped hands, others are swimming through the cloud-shoals—some on their faces, some on their backs—great processions of bishops56, martyrs57, and angels are pouring swiftly centerward from various outlying directions—everywhere is enthusiastic joy, there is rushing movement everywhere. There are fifteen or twenty figures scattered58 here and there, with books, but they cannot keep their attention on their reading—they offer the books to others, but no one wishes to read, now. The Lion of St. Mark is there with his book; St. Mark is there with his pen uplifted; he and the Lion are looking each other earnestly in the face, disputing about the way to spell a word—the Lion looks up in rapt admiration59 while St. Mark spells. This is wonderfully interpreted by the artist. It is the master-stroke of this imcomparable painting.
I visited the place daily, and never grew tired of looking at that grand picture. As I have intimated, the movement is almost unimaginably vigorous; the figures are singing, hosannahing, and many are blowing trumpets60. So vividly61 is noise suggested, that spectators who become absorbed in the picture almost always fall to shouting comments in each other’s ears, making ear-trumpets of their curved hands, fearing they may not otherwise be heard. One often sees a tourist, with the eloquent62 tears pouring down his cheeks, funnel63 his hands at his wife’s ear, and hears him roar through them, “Oh, to be there and at rest!”
Twelve years ago I could not have appreciated this picture. One year ago I could not have appreciated it. My study of Art in Heidelberg has been a noble education to me. All that I am today in Art, I owe to that.
The other great work which fascinated me was Bassano’s immortal Hair Trunk. This is in the Chamber of the Council of Ten. It is in one of the three forty-foot pictures which decorate the walls of the room. The composition of this picture is beyond praise. The Hair Trunk is not hurled66 at the stranger’s head—so to speak—as the chief feature of an immortal work so often is; no, it is carefully guarded from prominence67, it is subordinated, it is restrained, it is most deftly and cleverly held in reserve, it is most cautiously and ingeniously led up to, by the master, and consequently when the spectator reaches it at last, he is taken unawares, he is unprepared, and it bursts upon him with a stupefying surprise.
One is lost in wonder at all the thought and care which this elaborate planning must have cost. A general glance at the picture could never suggest that there was a hair trunk in it; the Hair Trunk is not mentioned in the title even—which is, “Pope Alexander III. and the Doge Ziani, the Conqueror68 of the Emperor Frederick Barbarossa”; you see, the title is actually utilized69 to help divert attention from the Trunk; thus, as I say, nothing suggests the presence of the Trunk, by any hint, yet everything studiedly leads up to it, step by step. Let us examine into this, and observe the exquisitely70 artful artlessness of the plan.
At the extreme left end of the picture are a couple of women, one of them with a child looking over her shoulder at a wounded man sitting with bandaged head on the ground. These people seem needless, but no, they are there for a purpose; one cannot look at them without seeing the gorgeous procession of grandees71, bishops, halberdiers, and banner-bearers which is passing along behind them; one cannot see the procession without feeling the curiosity to follow it and learn whither it is going; it leads him to the Pope, in the center of the picture, who is talking with the bonnetless Doge—talking tranquilly73, too, although within twelve feet of them a man is beating a drum, and not far from the drummer two persons are blowing horns, and many horsemen are plunging74 and rioting about—indeed, twenty-two feet of this great work is all a deep and happy holiday serenity75 and Sunday-school procession, and then we come suddenly upon eleven and one-half feet of turmoil76 and racket and insubordination. This latter state of things is not an accident, it has its purpose. But for it, one would linger upon the Pope and the Doge, thinking them to be the motive77 and supreme64 feature of the picture; whereas one is drawn78 along, almost unconsciously, to see what the trouble is about. Now at the very end of this riot, within four feet of the end of the picture, and full thirty-six feet from the beginning of it, the Hair Trunk bursts with an electrifying79 suddenness upon the spectator, in all its matchless perfection, and the great master’s triumph is sweeping80 and complete. From that moment no other thing in those forty feet of canvas has any charm; one sees the Hair Trunk, and the Hair Trunk only—and to see it is to worship it. Bassano even placed objects in the immediate81 vicinity of the Supreme Feature whose pretended purpose was to divert attention from it yet a little longer and thus delay and augment82 the surprise; for instance, to the right of it he has placed a stooping man with a cap so red that it is sure to hold the eye for a moment—to the left of it, some six feet away, he has placed a red-coated man on an inflated83 horse, and that coat plucks your eye to that locality the next moment—then, between the Trunk and the red horseman he has intruded84 a man, naked to his waist, who is carrying a fancy flour-sack on the middle of his back instead of on his shoulder—this admirable feat interests you, of course—keeps you at bay a little longer, like a sock or a jacket thrown to the pursuing wolf—but at last, in spite of all distractions85 and detentions86, the eye of even the most dull and heedless spectator is sure to fall upon the World’s Masterpiece, and in that moment he totters87 to his chair or leans upon his guide for support.
Descriptions of such a work as this must necessarily be imperfect, yet they are of value. The top of the Trunk is arched; the arch is a perfect half-circle, in the Roman style of architecture, for in the then rapid decadence88 of Greek art, the rising influence of Rome was already beginning to be felt in the art of the Republic. The Trunk is bound or bordered with leather all around where the lid joins the main body. Many critics consider this leather too cold in tone; but I consider this its highest merit, since it was evidently made so to emphasize by contrast the impassioned fervor89 of the hasp. The highlights in this part of the work are cleverly managed, the motif90 is admirably subordinated to the ground tints91, and the technique is very fine. The brass92 nail-heads are in the purest style of the early Renaissance93. The strokes, here, are very firm and bold—every nail-head is a portrait. The handle on the end of the Trunk has evidently been retouched—I think, with a piece of chalk—but one can still see the inspiration of the Old Master in the tranquil72, almost too tranquil, hang of it. The hair of this Trunk is real hair—so to speak—white in patches, brown in patches. The details are finely worked out; the repose94 proper to hair in a recumbent and inactive attitude is charmingly expressed. There is a feeling about this part of the work which lifts it to the highest altitudes of art; the sense of sordid95 realism vanishes away—one recognizes that there is soul here.
View this Trunk as you will, it is a gem96, it is a marvel97, it is a miracle. Some of the effects are very daring, approaching even to the boldest flights of the rococo98, the sirocco, and the Byzantine schools—yet the master’s hand never falters—it moves on, calm, majestic99, confident—and, with that art which conceals100 art, it finally casts over the tout101 ensemble102, by mysterious methods of its own, a subtle something which refines, subdues103, etherealizes the arid104 components105 and endures them with the deep charm and gracious witchery of poesy.
Among the art-treasures of Europe there are pictures which approach the Hair Trunk—there are two which may be said to equal it, possibly—but there is none that surpasses it. So perfect is the Hair Trunk that it moves even persons who ordinarily have no feeling for art. When an Erie baggagemaster saw it two years ago, he could hardly keep from checking it; and once when a customs inspector106 was brought into its presence, he gazed upon it in silent rapture107 for some moments, then slowly and unconsciously placed one hand behind him with the palm uppermost, and got out his chalk with the other. These facts speak for themselves.
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1
arcade
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| n.拱廊；(一侧或两侧有商店的)通道 | |
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sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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variegated
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| adj.斑驳的，杂色的 | |
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copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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tariff
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| n.关税，税率；(旅馆、饭店等)价目表，收费表 | |
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probity
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| n.刚直；廉洁，正直 | |
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peddling
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| 忙于琐事的，无关紧要的 | |
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coppers
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| 铜( copper的名词复数 )； 铜币 | |
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dummies
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| n.仿制品( dummy的名词复数 )；橡皮奶头；笨蛋；假传球 | |
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woolen
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| adj.羊毛(制)的；毛纺的 | |
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dummy
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| n.假的东西；(哄婴儿的)橡皮奶头 | |
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reconciliation
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| n.和解，和谐，一致 | |
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afterward
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| adv.后来；以后 | |
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chattering
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| n. （机器振动发出的）咔嗒声，(鸟等)鸣，啁啾 adj. 喋喋不休的，啾啾声的 动词chatter的现在分词形式 | |
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chatter
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| vi.／n.喋喋不休；短促尖叫；(牙齿)打战 | |
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feat
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| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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legerdemain
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| n.戏法，诈术 | |
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frankly
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| adv.坦白地，直率地；坦率地说 | |
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wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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exultation
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| n.狂喜，得意 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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shafts
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| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
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tinted
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| adj. 带色彩的 动词tint的过去式和过去分词 | |
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cleaving
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| v.劈开，剁开，割开( cleave的现在分词 ) | |
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frivolous
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| adj.轻薄的；轻率的 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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mellow
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| adj.柔和的；熟透的；v.变柔和；(使)成熟 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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reverently
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| adv.虔诚地 | |
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deftly
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| adv.灵巧地，熟练地，敏捷地 | |
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pallid
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| adj.苍白的，呆板的 | |
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inane
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| adj.空虚的，愚蠢的，空洞的 | |
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dignified
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| a.可敬的，高贵的 | |
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professes
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| 声称( profess的第三人称单数 )； 宣称； 公开表明； 信奉 | |
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subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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muffled
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| adj.（声音）被隔的；听不太清的；（衣服）裹严的；蒙住的v.压抑，捂住( muffle的过去式和过去分词 )；用厚厚的衣帽包着（自己） | |
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mellowed
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| （使）成熟( mellow的过去式和过去分词 )； 使色彩更加柔和，使酒更加醇香 | |
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conspicuously
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| ad.明显地，惹人注目地 | |
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splendor
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| n.光彩；壮丽，华丽；显赫，辉煌 | |
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prostrate
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| v.拜倒，平卧，衰竭；adj.拜倒的，平卧的，衰竭的 | |
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dwarf
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| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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43
epoch
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| n.(新)时代；历元 | |
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attain
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| vt.达到，获得，完成 | |
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logic
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| n.逻辑(学)；逻辑性 | |
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indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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truthful
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| adj.真实的，说实话的，诚实的 | |
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apprentice
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| n.学徒，徒弟 | |
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premises
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| n.建筑物，房屋 | |
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50
whatsoever
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| adv.（用于否定句中以加强语气）任何；pron.无论什么 | |
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51
complexion
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| n.肤色；情况，局面；气质，性格 | |
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52
formulated
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| v.构想出( formulate的过去式和过去分词 )；规划；确切地阐述；用公式表示 | |
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contemplating
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| 深思，细想，仔细考虑( contemplate的现在分词 )； 注视，凝视； 考虑接受（发生某事的可能性）； 深思熟虑，沉思，苦思冥想 | |
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enticed
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| 诱惑，怂恿( entice的过去式和过去分词 ) | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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bishops
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| （基督教某些教派管辖大教区的）主教( bishop的名词复数 )； （国际象棋的）象 | |
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57
martyrs
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| n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情） | |
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scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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trumpets
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| 喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花 | |
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61
vividly
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| adv.清楚地，鲜明地，生动地 | |
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62
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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63
funnel
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| n.漏斗；烟囱；v.汇集 | |
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64
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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65
supremely
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| adv.无上地，崇高地 | |
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66
hurled
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| v.猛投，用力掷( hurl的过去式和过去分词 )；大声叫骂 | |
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67
prominence
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| n.突出；显著；杰出；重要 | |
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68
conqueror
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| n.征服者，胜利者 | |
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69
utilized
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| v.利用，使用( utilize的过去式和过去分词 ) | |
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exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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71
grandees
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| n.贵族，大公，显贵者( grandee的名词复数 ) | |
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72
tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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tranquilly
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| adv. 宁静地 | |
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74
plunging
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| adj.跳进的，突进的v.颠簸( plunge的现在分词 )；暴跌；骤降；突降 | |
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75
serenity
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| n.宁静，沉着，晴朗 | |
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76
turmoil
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| n.骚乱，混乱，动乱 | |
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77
motive
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| n.动机，目的；adv.发动的，运动的 | |
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78
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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79
electrifying
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| v.使电气化( electrify的现在分词 )；使兴奋 | |
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80
sweeping
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| adj.范围广大的，一扫无遗的 | |
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81
immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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82
augment
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| vt.(使)增大，增加，增长，扩张 | |
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83
inflated
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| adj.（价格）飞涨的；（通货）膨胀的；言过其实的；充了气的v.使充气（于轮胎、气球等）( inflate的过去式和过去分词 )；（使）膨胀；（使）通货膨胀；物价上涨 | |
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84
intruded
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| n.侵入的，推进的v.侵入，侵扰，打扰( intrude的过去式和过去分词 )；把…强加于 | |
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85
distractions
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| n.使人分心的事[人]( distraction的名词复数 )；娱乐，消遣；心烦意乱；精神错乱 | |
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86
detentions
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| 拘留( detention的名词复数 )； 扣押； 监禁； 放学后留校 | |
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87
totters
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| v.走得或动得不稳( totter的第三人称单数 )；踉跄；蹒跚；摇摇欲坠 | |
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88
decadence
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| n.衰落，颓废 | |
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fervor
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| n.热诚；热心；炽热 | |
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90
motif
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| n.(图案的)基本花纹，(衣服的)花边；主题 | |
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91
tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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92
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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93
renaissance
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| n.复活，复兴，文艺复兴 | |
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94
repose
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| v.(使)休息；n.安息 | |
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95
sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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96
gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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97
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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98
rococo
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| n.洛可可；adj.过分修饰的 | |
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99
majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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100
conceals
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| v.隐藏，隐瞒，遮住( conceal的第三人称单数 ) | |
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101
tout
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| v.推销，招徕；兜售；吹捧，劝诱 | |
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102
ensemble
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| n.合奏(唱)组；全套服装；整体，总效果 | |
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103
subdues
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| 征服( subdue的第三人称单数 )； 克制； 制服 | |
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104
arid
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| adj.干旱的；(土地)贫瘠的 | |
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105
components
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| （机器、设备等的）构成要素，零件，成分； 成分( component的名词复数 )； [物理化学]组分； [数学]分量； （混合物的）组成部分 | |
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106
inspector
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| n.检查员，监察员，视察员 | |
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107
rapture
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| n.狂喜；全神贯注；着迷；v.使狂喜 | |
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