We cannot be too sorry for this loss. For my own part I feel it cruelly, for I venerate10 the Penguin antiquities11 and I adore the primitives12. They are delightful13. I do not say they are all alike, for that would be untrue, but they have common characters that are found in all schools — I mean formulas from which they never depart-and there is besides some, thing finished in their work, for what they know they know well. Luckily we can form a notion of the Penguin primitives from the Italian, Flemish, and Dutch primitives, and from the French primitives, who are superior to all the rest; as M. Gruyer tell us they are more logical, logic14 being a peculiarly French quality. Even if this is denied it must at least be admitted that to France belongs the credit of having kept primitives when the other nations knew them no longer. The Exhibition of French Primitives at the Pavilion Marsan in 1904 contained several little panels contemporary with the later Valois kings and with Henry IV.
I have made many journeys to see the pictures of the brothers Van Eyck, of Memling, of Roger van der Weyden, of the painter of the death of Mary, of Ambrogio Lorenzetti, and of the old Umbrian masters. It was, however, neither Bruges, nor Cologne, nor Sienna, nor Perugia, that completed my initiation15; it was in the little town of Arezzo that I became a conscious adept16 in primitive painting. That was ten years ago or even longer. At that period of indigence17 and simplicity18, the municipal museums, though usually kept shut, were always opened to foreigners. One evening, an old woman with a candle showed me, for half a lira, the sordid19 museum of Arezzo, and in it I discovered a painting by Margaritone, a “St. Francis,” the pious20 sadness of which moved me to tears. I was deeply touched, and Margaritone of Arezzo became from that day my dearest primitive.
I picture to myself the Penguin primitives in conformity21 with the works of that master. It will not therefore be thought superfluous22 if in this place I consider his works with some attention, if not in detail, at least under their more general and, if I dare say so, most representative aspect.
We possess five or six pictures signed with his hand. His masterpiece, preserved in the National Gallery of London, represents the Virgin23 seated on a throne and holding the infant Jesus in her arms. What strikes one first when one looks at this figure is the proportion. The body from the neck to the feet is only twice as long as the head, so that it appears extremely short and podgy. This work is not less remarkable24 for its painting than for its drawing. The great Margaritone had but a limited number of colours in his possession, and he used them in all their purity without ever modifying the tones. From this it follows that his colouring has more vivacity25 than harmony. The cheeks of the Virgin and those of the Child are of a bright vermilion which the old master, from a naive26 preference for clear definitions, has placed on each face in two circumferences27 as exact as if they had been traced out by a pair of compasses.
A learned critic of the eighteenth century, the Abbe Lanzi, has treated Margaritone’s works with profound disdain28. “They are,” he says, “merely crude daubs. In those unfortunate times people could neither draw nor paint.” Such was the common opinion of the connoisseurs29 of the days of powdered wigs30. But the great Margaritone and his contemporaries were soon to be avenged31 for this cruel contempt. There was born in the nineteenth century, in the biblical villages and reformed cottages of pious England, a multitude of little Samuels and little St. Johns with hair curling like lambs, who, about 1840 and 1850, became spectacled professors and founded the cult8 of the primitives.
That eminent32 theorist of Pre–Raphaelitism, Sir James Tuckett, does not shrink from placing the Madonna of the National Gallery on a level with the masterpieces of Christian33 art. “By giving to the Virgin’s head,” says Sir James Tuckett, “a third of the total height of the figure, the old master attracts the spectator’s attention and keeps it directed towards the more sublime34 parts of the human figure, and in particular the eyes, which we ordinarily describe as the spiritual organs. In this picture, colouring and design conspire35 to produce an ideal and mystical impression. The vermilion of the cheeks does not recall the natural appearance of the skin; it rather seems as if the old master has applied36 the roses of Paradise to the faces of the Mother and the Child.”
We see, in such a criticism as this, a shining reflection, so to speak, of the work which it exalts37; yet MacSilly, the seraphic aesthete38 of Edinburgh, has expressed in a still more moving and penetrating39 fashion the impression produced upon his mind by the sight of this primitive painting. “The Madonna of Margaritone,” says the revered40 MacSilly, “attains the transcendent end of art. It inspires its beholders with feelings of innocence42 and purity; it makes them like little children. And so true is this, that at the age of sixty-six, after having had the joy of contemplating43 it closely for three hours, I felt myself suddenly transformed into a little child. While my cab was taking me through Trafalgar Square I kept laughing and prattling44 and shaking my spectacle-case as if it were a rattle45. And when the maid in my boarding-house had served my meal I kept pouring spoonfuls of soup into my ear with all the artlessness of childhood.”
“It is by such results,” adds MacSilly, “that the excellence46 of a work of art is proved.”
Margaritone, according to Vasari, died at the age of seventy-seven, “regretting that he had lived to see a new form of art arising and the new artists crowned with fame.”
These lines, which I translate literally47, have inspired Sir James Tuckett with what are perhaps the finest pages in his work. They form part of his “Breviary for AEsthetes”; all the Pre–Raphaelites know them by heart. I place them here as the most precious ornament48 of this book. You will agree that nothing more sublime has been written since the days of the Hebrew prophets.
Margaritione’s Vision
Margaritone, full of years and labours, went one day to visit the studio of a young painter who had lately settled in the town. He noticed in the studio a freshly painted Madonna, which, although severe and rigid49, nevertheless, by a certain exactness in the proportions and a devilish mingling50 of light and shade, assumed an appearance of relief and life. At this sight the artless and sublime worker of Arezzo perceived with horror what the future of painting would be. With his brow clasped in his hands he exclaimed:
“What things of shame does not this figure show forth51! I discern in it the end of that Christian art which paints the soul and inspires the beholder41 with an ardent52 desire for heaven. Future painters will not restrain themselves as does this one to portraying53 on the side of a wall or on a wooden panel the cursed matter of which our bodies are formed; they will celebrate and glorify54 it. They will clothe their figures with dangerous appearances of flesh, and these figures will seem like real persons. Their bodies will be seen; their forms will appear through their clothing. St. Magdalen will have a bosom55. St. Martha a belly56, St. Barbara hips57, St. Agnes buttocks; St. Sebastian will unveil his youthful beauty, and St. George will display beneath his armour58 the muscular wealth of a robust59 virility60; apostles, confessors, doctors, and God the Father himself will appear as ordinary beings like you and me; the angels will affect an equivocal, ambiguous, mysterious beauty which will trouble hearts. What desire for heaven will these representations impart? None; but from them you will learn to take pleasure in the forms of terrestrial life. Where will painters stop in their indiscreet inquiries61? They will stop nowhere. They will go so far as to show men and women naked like the idols62 of the Romans. There will be a sacred art and a profane63 art, and the sacred art will not be less profane than the other.”
“Get ye behind me, demons,” exclaimed the old master. For in prophetic vision he saw the righteous and the saints assuming the appearance of melancholy64 athletes. He saw Apollos playing the lute65 on a flowery hill, in the midst of the Muses66 wearing light tunics67. He saw Venuses lying under shady myrtles and the Danae exposing their charming sides to the golden rain. He saw pictures of Jesus under the pillars of the temple amidst patricians68, fair ladies, musicians, pages, negroes, dogs, and parrots. He saw in an inextricable confusion of human limbs, outspread wings, and flying draperies, crowds of tumultuous Nativities, opulent Holy Families, emphatic69 Crucifixions. He saw St. Catherines, St. Barbaras, St. Agneses humiliating patricians by the sumptuousness70 of their velvets, their brocades, and their pearls, and by the splendour of their breasts. He saw Auroras scattering71 roses, and a multitude of naked Dianas and Nymphs surprised on the banks of retired72 streams. And the great Margaritone died, strangled by so horrible a presentiment73 of the Renaissance74 and the Bolognese School.
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1 penguin | |
n.企鹅 | |
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2 distinguished | |
adj.卓越的,杰出的,著名的 | |
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3 originality | |
n.创造力,独创性;新颖 | |
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4 porpoises | |
n.鼠海豚( porpoise的名词复数 ) | |
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5 undoubtedly | |
adv.确实地,无疑地 | |
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6 instructors | |
指导者,教师( instructor的名词复数 ) | |
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7 penguins | |
n.企鹅( penguin的名词复数 ) | |
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8 cult | |
n.异教,邪教;时尚,狂热的崇拜 | |
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9 primitive | |
adj.原始的;简单的;n.原(始)人,原始事物 | |
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10 venerate | |
v.尊敬,崇敬,崇拜 | |
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11 antiquities | |
n.古老( antiquity的名词复数 );古迹;古人们;古代的风俗习惯 | |
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12 primitives | |
原始人(primitive的复数形式) | |
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13 delightful | |
adj.令人高兴的,使人快乐的 | |
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14 logic | |
n.逻辑(学);逻辑性 | |
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15 initiation | |
n.开始 | |
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16 adept | |
adj.老练的,精通的 | |
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17 indigence | |
n.贫穷 | |
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18 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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19 sordid | |
adj.肮脏的,不干净的,卑鄙的,暗淡的 | |
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20 pious | |
adj.虔诚的;道貌岸然的 | |
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21 conformity | |
n.一致,遵从,顺从 | |
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22 superfluous | |
adj.过多的,过剩的,多余的 | |
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23 virgin | |
n.处女,未婚女子;adj.未经使用的;未经开发的 | |
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24 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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25 vivacity | |
n.快活,活泼,精神充沛 | |
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26 naive | |
adj.幼稚的,轻信的;天真的 | |
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27 circumferences | |
周围,圆周( circumference的名词复数 ) | |
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28 disdain | |
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29 connoisseurs | |
n.鉴赏家,鉴定家,行家( connoisseur的名词复数 ) | |
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30 wigs | |
n.假发,法官帽( wig的名词复数 ) | |
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31 avenged | |
v.为…复仇,报…之仇( avenge的过去式和过去分词 );为…报复 | |
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32 eminent | |
adj.显赫的,杰出的,有名的,优良的 | |
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33 Christian | |
adj.基督教徒的;n.基督教徒 | |
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34 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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35 conspire | |
v.密谋,(事件等)巧合,共同导致 | |
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36 applied | |
adj.应用的;v.应用,适用 | |
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37 exalts | |
赞扬( exalt的第三人称单数 ); 歌颂; 提升; 提拔 | |
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38 aesthete | |
n.审美家 | |
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39 penetrating | |
adj.(声音)响亮的,尖锐的adj.(气味)刺激的adj.(思想)敏锐的,有洞察力的 | |
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40 revered | |
v.崇敬,尊崇,敬畏( revere的过去式和过去分词 ) | |
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41 beholder | |
n.观看者,旁观者 | |
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42 innocence | |
n.无罪;天真;无害 | |
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43 contemplating | |
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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44 prattling | |
v.(小孩般)天真无邪地说话( prattle的现在分词 );发出连续而无意义的声音;闲扯;东拉西扯 | |
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45 rattle | |
v.飞奔,碰响;激怒;n.碰撞声;拨浪鼓 | |
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46 excellence | |
n.优秀,杰出,(pl.)优点,美德 | |
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47 literally | |
adv.照字面意义,逐字地;确实 | |
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48 ornament | |
v.装饰,美化;n.装饰,装饰物 | |
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49 rigid | |
adj.严格的,死板的;刚硬的,僵硬的 | |
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50 mingling | |
adj.混合的 | |
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51 forth | |
adv.向前;向外,往外 | |
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52 ardent | |
adj.热情的,热烈的,强烈的,烈性的 | |
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53 portraying | |
v.画像( portray的现在分词 );描述;描绘;描画 | |
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54 glorify | |
vt.颂扬,赞美,使增光,美化 | |
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55 bosom | |
n.胸,胸部;胸怀;内心;adj.亲密的 | |
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56 belly | |
n.肚子,腹部;(像肚子一样)鼓起的部分,膛 | |
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57 hips | |
abbr.high impact polystyrene 高冲击强度聚苯乙烯,耐冲性聚苯乙烯n.臀部( hip的名词复数 );[建筑学]屋脊;臀围(尺寸);臀部…的 | |
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58 armour | |
(=armor)n.盔甲;装甲部队 | |
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59 robust | |
adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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60 virility | |
n.雄劲,丈夫气 | |
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61 inquiries | |
n.调查( inquiry的名词复数 );疑问;探究;打听 | |
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62 idols | |
偶像( idol的名词复数 ); 受崇拜的人或物; 受到热爱和崇拜的人或物; 神像 | |
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63 profane | |
adj.亵神的,亵渎的;vt.亵渎,玷污 | |
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64 melancholy | |
n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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65 lute | |
n.琵琶,鲁特琴 | |
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66 muses | |
v.沉思,冥想( muse的第三人称单数 );沉思自语说(某事) | |
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67 tunics | |
n.(动植物的)膜皮( tunic的名词复数 );束腰宽松外衣;一套制服的短上衣;(天主教主教等穿的)短祭袍 | |
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68 patricians | |
n.(古罗马的)统治阶层成员( patrician的名词复数 );贵族,显贵 | |
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69 emphatic | |
adj.强调的,着重的;无可置疑的,明显的 | |
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70 sumptuousness | |
奢侈,豪华 | |
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71 scattering | |
n.[物]散射;散乱,分散;在媒介质中的散播adj.散乱的;分散在不同范围的;广泛扩散的;(选票)数量分散的v.散射(scatter的ing形式);散布;驱散 | |
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72 retired | |
adj.隐退的,退休的,退役的 | |
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73 presentiment | |
n.预感,预觉 | |
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74 renaissance | |
n.复活,复兴,文艺复兴 | |
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