The stranger who does not see things with the eyes of the passionate11 philanthropist and patriot13, and who when gazing at the master-works of art, does not necessarily think of the depravity of the gatherers of these works, is surely permitted to disregard the association of ideas between art and morality, and to give himself over unconstrainedly to the enjoyment of collections that can hold their own with the best museums of the world. To be sure, Catherine II. was not an exemplary empress or woman, yet by her purchases for the Hermitage she rendered a real service to her country, a service that will ultimately plead for her at the judgment-seat of the world's history. Alexander III. and his house were misfortunes for his country, but the museum that bears his name will keep alive his memory and will cast light of forgiveness on a soul enshrouded in darkness. Besides, it has nowhere been shown that without the diversion of expensive tastes for art, slovenly14 empresses would have been less slovenly or dull despots less violent. But in the Hermitage one may forget for a couple of hours that he is in the capital of the most unfortunate and the most wretchedly governed of all countries.
[Pg 62]
On the whole, it is impossible to give in a mere15 description an adequate conception of the great mass of masterpieces here gathered together. I shall attempt, in the following, to seize only a few meagre rays of the brightest solitaires.
Borne by the one-story high—entirely16 too high—naked Atlas17 of polished black granite18, there rises the side roof of the Hermitage over a terrace of the "millionnaya" (millionaires' street). We enter the dark, high entrance-hall, from which a high marble staircase, between polished walls, leads to a pillared hall, already seen from below. The attendants, in scarlet19 uniforms, jokingly known at the court as "lobsters," officiously relieve us of our fur coats, and we hasten into the long ground floor, where await us the world-famous antiquities20 from Kertch, in the Crimea. Unfortunately, there awaits us also a sad disappointment. The high walls are so dark, even in the middle of the gray winter day, that the beauty of the many charming miniatures must be surmised21 rather than felt. We could see scarcely anything of the great collection of vases. We breathe with relief when we at last enter a hall that has light and air, now richly rewarded for our Tantalus-like sufferings in the preceding rooms. Here glitter the gold laurel and acorn22 crowns that once adorned23 proud Greek foreheads; there sparkles the gold-braided border with which the Greek woman trimmed her garments, representing in miniature relief lions' and rams24' heads. The gold [Pg 63]bracelets and necklaces, ear-rings and brooches tell us that there is nothing new under the sun. Before the birth of Christ there were worn in Chersonesus the same patterns that are now designed anew by diligent25 artistic26 craftsmen—nay, even vases and tumblers, the creations of the most modern individualities, had already lain buried under the rubbish of thousands of years. Our attention is drawn27 to a vase in a separate case, which gives an excellent representation of the progress of a bride's toilet from the bath to its finishing touches ready for the bridegroom's reception. Who knows what scene of domestic happiness was involved in the presentation of this gift thousands of years ago! Sensations which one experiences only in the streets and houses of Pompeii are renewed here while looking at the glass cases with their collections of ornaments28 and of articles of utility that tell us of the refined pleasures and the exquisite29 taste of times long gone by. The waves of the Black Sea played about Greek patrician30 houses where to-day the rugged31 Cossack rides with the knout in his hand. A great hall shows us finally the Olympian Zeus with the eagles at his feet, also with the soaring Nike in his right hand. Klinger's "Beethoven" reminds us involuntarily of this lofty work without attaining32 its majesty33. A torch-bearer, a mighty34 caryatid of Praxiteles with a truly wonderful draping of the garments, a Dionysus of the fourth century, an Omphale clad in the attributes of Hercules, [Pg 64]sarcophagi with masterly reliefs, a divine Augustus, portrait busts35 of satyrs, entitle this collection to rank with that of the Vatican, not in numbers, but in the great worth of single works. But our wonder and admiration36 become greater when we enter the splendid halls of the picture-gallery. We hasten past Canova and Houdon, however; the graceful37 figures of the one and the characteristic "Voltaire" of the other had attracted us at other times. On to Murillo, Rembrandt, Rubens, Titian, to be presented to us in unusual completeness. Twenty-two Murillos, the finest of them carried away by the French from Madrid, wrapped around flag-staffs. I must confess that I had not hitherto fully38 comprehended Murillo's fame, for I am not acquainted with the Spanish galleries. It was only in St. Petersburg that the full greatness of the master dawned upon me. No description can give an adequate idea of the charm of the Virgin39 Mother in the two gray-walled pictures of "The Conception" and "The Assumption." What distinguishes it from the famous Louvre picture is, above all, the childlike expression of the sweet girl's head. A Mignon as Mary! The dark eyes looking up to heaven with such inspired enthusiasm; the full cheeks delicately tinted40; the light garment of the maiden41, almost a child, enfolding it chastely42; the entire figure, to the blue, loosely fluttering cloak bathed in light; the cupids crowding about the knees and carrying her heavenward; sweet rogues43 on the cloud wall, a part still in the light[Pg 65] radiated by her, and a part already immersed in the deep darkness of space—the whole sublime44, as on the first day of creation, no note failing in the Spaniard's full glow of color.
No less splendid and inspired is "Repose45 During the Flight to Egypt," where the mother of the Lord again awakens46 the most fervent47 sensations. She is no longer the half-childlike virgin of the Conception and the Assumption; she is the mother, tenderly and rapturously gazing at the sleeping child surrounded by a halo of heavenly light. Angels crowd forward in na?ve curiosity; the saintly Joseph looks with emotion on the contented48 infant; the thick foliage49 gives to the entire group shade and coolness. Even the ass12 looks comfortable and pious50. The color and composition are entirely beyond comparison.
A painting brimful of roguishness is "Jacob's Ladder," where angels ascending51 and descending52, making up the dreams of the sleeper53, amuse themselves in most innocent fashion. Well known is the charming Christ-Child in the painting of "St. Joseph," and the charming little "John" often fondly painted by him, his arms entwined about his lambkin. Hardy54 peasant types are not wanting; and that the inspiration of the great Spaniard may not exceed all bounds, there are a few pictures which, with all their artistic excellence55 make us realize what a chasm56 separates us from the passionate Catholic Murillo. We believe that full artistic justice may be done to[Pg 66] the poetry of Biblical legend without being obliged to glorify57 a Peter Aubry. However, other lands, other customs!
Of Velasquez's work there should be mentioned, in the first place, his paintings of Philip IV. and the Duke of Olivarez, both of striking characterization in their grotesque58 ugliness—the master will survive even the one-sided and exclusive cult59 of which he has been made the victim. We will not set our minds against Velasquez's or Leonardo's "Mona Lisa" just because they are to be found in all the exercises of enraptured60 modern goslings.
I will not say anything about the "Madonna Conestabile," the "St. George," and the wonderful "Madonna Alba" of Raphael, for I consider it entirely superfluous61 to combat the affected62 underestimates of the master of Urbino, which is insisted upon as a matter of party obligation by every imitator of fashion. If Herr Muther prescribes the Botticelli cult for the last years of one century, the rediscovery of the joyous63 Andrea del Sarto for the first years of a new century, he will, if we live to see the day, prescribe for the century noonday the return to the master of perfection, Raffaelo Sanzio, as the inevitable64 requirement of fashion, and his disciples65 will add here their solemn amen. But the eternal masters are above the gossip of salons66 and fashions.
Sebastiano del Piombo is represented here by a most extraordinary "Descent from the Cross,"[Pg 67] Correggio by the "Madonna del Latte," Leonardo da Vinci by the light blonde "Madonna Litta," which, like all the works of this master, is questioned, but which bears his imprint67 as much as any of his works. Of Botticelli there is a very well-preserved "Adoration68 of the Magi," similar to the Florentine painting. Likewise, here in all the minor69 figures of the kneeling kings and shepherds, and even of the horses, there is a perfection in the mastery of drawing, the Madonna archaically70 overslender, with the thin neck of the Primitivists, which, out of respect for sacred tradition, the otherwise bold master did not dare meddle71 with. Naturally, the modern art mockery sees in this defect of Botticelli's, accounted for by respect for tradition, his chief superiority, and goes into affected raptures72 at the sensitive figures of his "Primavera," and imitates the studied gestures of those foolish airs which our higher bourgeoisie affect in order to resemble the decadent73 nobility. But Botticelli really deserves a better fate than to be the fashion painter of the snobs74.
Bronzino's picture of a young woman, with quite modern bronze-colored hair and exceptionally small hands, might well be substituted, if fashion chose, for "Mona Lisa" in the modern feuilletons. A Renaissance could easily dedicate a piquant75 novel to her dreamy, roguish eyes, her soft chin, and her sensual mouth, which would not be contradicted by the rich pearl ornaments in her hair and ears. There is a Judith by the highly beloved master[Pg 68] Giorgione, which is far superior in the majesty of her bearing and the beauty of her head to her sisters of earlier and later times. By the side of this noble and historical figure the other Judith, the creation of the wanton and diseased fancy of Klimt—the otherwise prominent but misguided master—appears absolutely odious76.
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1
severing
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| v.切断，断绝( sever的现在分词 )；断，裂 | |
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2
enjoyment
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| n.乐趣；享有；享用 | |
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humane
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| adj.人道的，富有同情心的 | |
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antiquity
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| n.古老；高龄；古物，古迹 | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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immorality
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| n. 不道德, 无道义 | |
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refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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8
essentially
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| adv.本质上，实质上，基本上 | |
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9
apparently
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| adv.显然地；表面上，似乎 | |
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10
mite
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| n.极小的东西；小铜币 | |
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11
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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12
ass
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| n.驴；傻瓜，蠢笨的人 | |
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13
patriot
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| n.爱国者，爱国主义者 | |
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14
slovenly
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| adj.懒散的，不整齐的，邋遢的 | |
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15
mere
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| adj.纯粹的；仅仅，只不过 | |
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16
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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17
atlas
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| n.地图册，图表集 | |
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18
granite
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| adj.花岗岩，花岗石 | |
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19
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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20
antiquities
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| 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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21
surmised
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| v.臆测，推断( surmise的过去式和过去分词 )；揣测；猜想 | |
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22
acorn
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| n.橡实，橡子 | |
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23
adorned
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| [计]被修饰的 | |
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rams
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| n.公羊( ram的名词复数 )；(R-)白羊（星）座；夯；攻城槌v.夯实（土等）( ram的第三人称单数 )；猛撞；猛压；反复灌输 | |
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25
diligent
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| adj.勤勉的，勤奋的 | |
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26
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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27
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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28
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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29
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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patrician
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| adj.贵族的，显贵的；n.贵族；有教养的人；罗马帝国的地方官 | |
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31
rugged
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| adj.高低不平的，粗糙的，粗壮的，强健的 | |
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32
attaining
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| （通常经过努力）实现( attain的现在分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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33
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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34
mighty
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| adj.强有力的；巨大的 | |
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35
busts
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| 半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕 | |
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36
admiration
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| n.钦佩，赞美，羡慕 | |
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37
graceful
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| adj.优美的，优雅的；得体的 | |
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38
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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39
virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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40
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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41
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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42
chastely
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| adv.贞洁地，清高地，纯正地 | |
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43
rogues
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| n.流氓( rogue的名词复数 )；无赖；调皮捣蛋的人；离群的野兽 | |
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44
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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45
repose
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| v.(使)休息；n.安息 | |
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46
awakens
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| v.（使）醒( awaken的第三人称单数 )；（使）觉醒；弄醒；（使）意识到 | |
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47
fervent
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| adj.热的，热烈的，热情的 | |
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48
contented
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| adj.满意的，安心的，知足的 | |
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49
foliage
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| n.叶子，树叶，簇叶 | |
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50
pious
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| adj.虔诚的；道貌岸然的 | |
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51
ascending
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| adj.上升的，向上的 | |
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52
descending
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| n. 下行 adj. 下降的 | |
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53
sleeper
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| n.睡眠者，卧车，卧铺 | |
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54
hardy
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| adj.勇敢的，果断的，吃苦的；耐寒的 | |
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55
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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56
chasm
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| n.深坑，断层，裂口，大分岐，利害冲突 | |
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57
glorify
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| vt.颂扬，赞美，使增光，美化 | |
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58
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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59
cult
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| n.异教，邪教；时尚，狂热的崇拜 | |
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60
enraptured
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| v.使狂喜( enrapture的过去式和过去分词 ) | |
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61
superfluous
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| adj.过多的，过剩的，多余的 | |
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62
affected
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| adj.不自然的，假装的 | |
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63
joyous
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| adj.充满快乐的；令人高兴的 | |
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64
inevitable
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| adj.不可避免的，必然发生的 | |
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65
disciples
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| n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一 | |
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66
salons
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| n.（营业性质的）店( salon的名词复数 )；厅；沙龙（旧时在上流社会女主人家的例行聚会或聚会场所）；（大宅中的）客厅 | |
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67
imprint
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| n.印痕，痕迹；深刻的印象；vt.压印，牢记 | |
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68
adoration
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| n.爱慕，崇拜 | |
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69
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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70
archaically
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| 古老的 | |
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71
meddle
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| v.干预，干涉，插手 | |
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72
raptures
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| 极度欢喜( rapture的名词复数 ) | |
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73
decadent
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| adj.颓废的，衰落的，堕落的 | |
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74
snobs
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| （谄上傲下的）势利小人( snob的名词复数 )； 自高自大者，自命不凡者 | |
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75
piquant
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| adj.辛辣的，开胃的，令人兴奋的 | |
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76
odious
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| adj.可憎的，讨厌的 | |
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