The school of Leonardo da Vinci is not as well represented; but mention should be made here of "St. Catherine of Luini," if only for the sake of the saint herself, that is fashioned after the same model as "St. Anne," by Leonardo. Somewhat better represented is the Venetian school with a few Tintorettos and Paolo Veroneses. Of the later Italians, we find especially of note, "Mary in the Sewing-School," "St. Joseph with the Christ-Child," and "Cleopatra," by Guido Reni.
But the pride of the collection is the Rembrandt gallery. The so-called "Mother of Rembrandt" is[Pg 71] somewhat inferior to the incomparable Vienna painting. But, on the other hand, there are among the thirty-nine authentic22 works of the master such gems23 as the "Descent from the Cross," with its singular lights and shadows, and "David and Absalom," with astonishing boldness of sketching25 and wonderful softness of coloring. But far beyond the technique we are struck in this picture by the almost tragic26 power of expression. It is the moment of conciliation27 between father and son. How the young prince with luxurious hair hides his trembling hand on his father's breast; how the father, who very strangely has the features of the master himself, draws to his breast the newly found son, and breathes to Jehovah a prayer for blessing28. It is treated with such overpowering mastery as dwells only in the greatest scenes of fatherly passion in all literature and art. The second treatment of the same theme, "The Prodigal29 Son," is transplanted from the princely to the common. The returning son is not a prince; the father is not a be-turbaned sultan; but the intensity30 of the embrace is the same; the same thrill comes to us out of this as out of the brilliant "Absalom" picture, the two songs of the forgiving father's love. The counterpart of these two is the painting of the great father's sorrow that seizes the old Jacob when his sons bring to him the bloody31 garment of his beloved Joseph. The terror and amazement32 of the patriarch, distinctly marked in the hands of the sage[Pg 72] uplifted as if warding33 off a blow, are strongly impressed on the mind of the beholder34. The famous "Sacrifice of Isaac" is to me of slighter value than the preceding, notwithstanding all the dramatic force of the moment depicted36. It is really too difficult for us to look into the soul of an old fanatic37 who is ready to slay38 his own son at the command of God; yet the foreshortening of the recumbent Isaac, and the angel sweeping39 down on him like a tempest, to seize just at the right moment the hand of the old man, are brought out again with really wanton mastery. The so-called Dana? is not to every one's taste, its universal fame notwithstanding. Bode40 takes it as Sarah, the daughter of Raguel, awaiting her betrothed41. Its meaning might well be a subject of discussion. The old woman who draws back the heavy drapery over the couch, with the honest match-maker's joy on her face and the purse in her hand, indicates a mythological42 incident and not the legitimate43 joys of Sarah. On the other hand, there is lacking here the indispensable golden shower by which the Dana? pictures are really characterized. Besides, the profile of the joyously44 surprised naked dame45 is not all antique. I take the liberty humbly46 to suggest that the young woman with the rather mature body is, to judge by the ornaments47 on her arms and in her hair, as well as by the attributes of her luxurious bed and the unceremoniousness with which she allows the light to play on her naked body through the open portières[Pg 73] without making use of the cover lying near by, to be considered a professional beauty, who is receiving with more than open arms some very welcome and generous guest. When once freed from the not exactly pleasing impression which the fidgety impatience49 produces on the none too pretty face, we cannot but admire the play of light on the nude50 body. Nothing is flattered in this painting, and that makes more striking the indelible impression of the shimmering51 light in all the depressions and curves of the not especially attractive figure.
It would be much beyond the limits of the present sketch24 to mention even by name the works of the first rank in the Rembrandt gallery. Suffice it to state that there are among them a so-called Sobieski, the portrait of the calligrapher52 Coppenol, almost breathing before one's eyes, the "Parable21 of the Workmen in the Vineyard," "Abraham's Entertainment of the Angels," a "Holy Family" of such loveliness as can scarcely be accredited53 to the forceful realist, the "Workshop of Joseph," the "Incredulity of St. Thomas," full of restless movement, a splendid heroic "Pallas," portraits of men and women, all of them works of the first rank, gems in the art of all time. To say anything of the master himself is, thank Heaven, unnecessary. He has thus far escaped untouched from the constant revolution of values, the propelling force of which is usually unknown to its satellites. Of him alone can it be said, that even an approximate conception[Pg 74] of the range of his mastery is impossible without familiarity with his paintings in the Hermitage.
Rubens, too, is represented here in all his astonishing versatility54. I do not know what value is placed nowadays on this omniscience55. Yet even the termagant tongue of impotency must become dumb before this splendid collection. Mythological and Biblical themes, portraits and landscapes, are almost throughout of equal perfection and beauty. His exuberant56 fancy is nowhere revealed to better advantage than in the fascinating sketches57 in which the Hermitage is so rich. They must be termed veritable orgies of the draughtsman and the colorist, and bear to a certain extent the imprint58 of perennial59 genius and happy inspiration, which the painting, often completed by his pupils, cannot quite show. But where the master's own hand has worked it has given life to the imperishable. If a prize were to be awarded to any one of the forty-seven masterpieces it would surely belong to the portrait of Helene Fourment, on which the artist worked with undivided love. The roguish beauty is painted life-size. She is standing35 in a flower-bedecked meadow, and in the background heavy clouds pass over the landscape. But they serve only to bring out in greater relief the delicate lace collar around the bare neck of the woman in a low-necked gown. She has on her blond, curly head a black, soft, Rembrandt hat, ornamented60 with feathers, and adorned61 with a violet-blue ribbon. Her heavy,[Pg 75] black satin dress with the airy white lace sleeves shows the still youthful, slender figure in a swaying, graceful62 pose. The delicate hands are crossed over the waist. The right is holding, fanlike and with refined ease, a long, white heron's feather. The dress and ornaments, the ear-rings and the bejewelled brooch and chain, are treated with such care as was seldom shown by the busy master. The main charm of the painting lies, however, in the roguish, spirited face with the large, clever eyes and the smiling little mouth. The neck and bosom show, however, that the name Helene is not inappropriate.
Of the mythological pictures the "Drunken Silence," variations on which in the Munich Pinakothek are well enough known to make a more detailed63 description superfluous64, is to my taste the most wonderful. But the St. Petersburg original is, if possible, even richer in its coloring, and the grotesque65 humor of the fine company is altogether irresistible66. We also find an excellent variation in "The Pert Lover's Happy Moments," the brown shepherd attacking a young woman with the features of Helene Fourment. The liberation of Andromeda by the victorious67 Perseus is a work with all conceivable merits. The dead monster that had guarded the brilliantly beautiful maid lies outstretched with gaping68 jaws69; the white-winged steed that had carried the victor is stamping the ground, but easily held in check by a little cupid. The victor, still in his glittering armor, with the gorgon[Pg 76] shield in his left hand approaches the fair maid and softly touches her. Another little cupid has removed his helmet so that the emerging Fame may place the wreath on his locks. But the youth sees only the glorious beauty at whose draperies three or four little rogues70 are busily tugging71 to pull away from the white body even the last vestige72 of covering. Of the splendid composition, "Venus and Adonis," only the wonderful heads were drawn73 by the master; the rest was done in his studio, but it is quite respectable.
Of the religious works, the "Descent from the Cross" is akin48 to the famous painting in the Dome74 of Antwerp. The large painting, "Christ Visiting Simon the Pharisee," was completed with the aid of his pupils. The figures of Christ and of Magdalene, who is drying the feet of the Saviour75 with her hair, were drawn by the master himself. The head of the penitent18 is particularly striking. It has something leonine in it, and the fervor76 with which she seizes the foot and draws it to herself has also something of the passion that may have led to her sin.
Of Van Dyck, the cleverest and most prominent of Rubens's pupils, who aspired77 to aristocratic refinement—perhaps only to free himself from the overpowering influence of the robust78 genius of his teacher, perhaps also because of his inherently more tenacious79 nature—the Hermitage possesses the largest and most valuable collection. The "Holy Family" is still influenced by Rubens, although it is [Pg 77]somewhat softer. It is a charming composition, full of peace and cheerfulness. Mary is sitting under a shady tree holding the Christ-Child, who is standing on her lap so that he may bend over to look at the dancing ring of little angels. St. Joseph is comfortably seated in the background. The play of the angels is unmistakably conceived after Rubens's festoon, and yet possesses great beauty of its own. In its color effects the picture is among the best. The artist is seen in complete self-dependence in the numerous portraits of his English period as well as in the cabinet piece of "The Snyder Family." The English impress us especially by the expression of self-conscious gentility, aristocratic exclusiveness, peculiar80 to themselves as well as to the master. We cannot escape the charm of these somewhat decadent81 faces, just as we would enjoy equally a Beethoven sonata82 and a Chopin nocturne. Without the exuberant imagination and the universality of his teacher, Van Dyck possesses, none the less, a personality of his own, shining with a light of its own; he is one of the psychologists among the painters.
Another psychologist, though not with delicate hands, but sturdy and creative, with exuberant genius, is Franz Hals, who is represented here by four strikingly lifelike portraits. Of him, too, nothing more need be said, though one may add he is a splendid fellow.
The Dutch miniature painters have here some dainty pieces. Of Van der Helst's we see his [Pg 78]renowned "Introduction of the Bride," a scene from Dutch patrician83 life, with somewhat strongly exaggerated respectability and affluence84. The bridegroom's parents, themselves still young, are seated on a garden terrace clad in their holiday attire85, and with gloves in their hands; the youngest son, stylishly86 dressed, with a parrot in his hand, is looking with strained attention towards the bridal couple, who are ceremoniously ascending87 the terrace; two greyhounds by the side of the parents, a lap-dog by the bride's side, take part in the performance; and loudest of all is the parrot, whom the master is obliged to call to order by an indignant "Keep still!" Notwithstanding its size (it has a width of more than three metres), the picture is painted with a minuteness of detail, from the frills of the mother to the rustling88 silk of the bride's dress and the thin foliage89 of the poplars in the background of the garden, that would do honor to any miniature painter. To be sure, our impressionist creed90 of the present day does not allow the recognition of such painstaking91 elegance92 and neatness in the execution of details. However, doctrines93 pass away, but, thank Heaven, the pictures remain.
The numerous domestic genre94 pictures, Terborch's famous "Glass of Lemonade," Jan Steen's "Drunken Woman," held up to derision by her husband, and the "Visits of the Physician," who is feeling the pulse of a young woman, evidently embarrassed, while the doctor, with a significant smile, is [Pg 79]exchanging remarks with an old woman, by Metzu, as well as certain physicians' examinations, by Gerhard Dou, that cannot further be described, are all notable, not only for the execution of the velvet and silk fabrics95, of the glasses and the interiors, but even more for the unfailing firmness of characterization in movement and physiognomy. Certainly these are great painters, and their works are true cabinet-pieces. Composition must always swing between painstaking accuracy and bold impressionism. Yet nothing could be more foolish than the contempt for miniaturists in a period of impressionism and the contempt for impressionists in a period of painful detail. "In my Father's house are many mansions96."
What shall we say of the works of Ostade, Teniers, Wouwerman, Pottes, and Ruysdael? The Hermitage not only contains an inexhaustible abundance of their productions, but includes their very best works. Potter has a wolf-hound and dairy farm, an animal group of the highest plasticity, and a quite modern transparency of atmosphere. Tenier has pieces that show him to have been not only a grotesque humorist but also a great landscape-painter; and of Ruysdael there are true pearls like the "Sand Road" and the "Bay Lake."
Rarities, valuable as such not alone to the art-lover, are the "Healing of the Blind," by Lucas van Leyden, the "Maid under the Apple-Tree," by Lucas Cranach, a triumphant97 Madonna, by Quentin Massys—faithful,[Pg 80] honest works which the pious98 masters laid with devotion on the golden ground. No sensible person will deride99 them, for they are still governed in their conceptions by the carefully obeyed rules of symmetry. In the attachement there is such depth of characterization, such affection and warmth, that many a masterpiece must be placed much below them. For enthusiasm of conception and conscientious100 execution are, after all, of deciding moment in every unbiased judgment101. But the technique belongs to the time and not to the individual.
The French of the seventeenth and eighteenth centuries conclude the group. The Germans have never succeeded in placing themselves in a true relation to this art that is rhetorical and theatrical102 rather than really poetical103. Yet we shall never be wanting in respect to others, especially to the masters Poussin and Claude Lorrain. The landscapes of a heroic-mythological character that represent them in the Hermitage are monuments of respectable ability.
Of real charm, however, are the piquant104 genre masters Fragonard and Watteau, who were held in such deep contempt in the virtuous105 years of the Revolution, that no one dared to pay even fifty francs for their frivolous106 paintings. They are represented by excellent pieces, as well as the more serious master Greuze, whose "Death of an Old Man" would do honor even to our good Knaus. Boucher and Lancret justly deserve our attention.[Pg 81] But Marguerite Gerard, the sister-in law of Fragonard, and Jean B. Chardin, have quite inconspicuously realized a goodly portion of the impressionist programme without devoting themselves merely to problems of light and shade. The "Mother's Happiness" of the former does full justice to the charming scene and easily solves a problem in interiors. The same is true of Chardin's "Washerwomen." There is positively107 nothing new under the sun. It is only the one or the other side of the universal knowledge of the great masters acclaimed108 as an entirely109 new discovery. Then follow actions and reactions, and thus the so-called art history is formed, the rise and fall among a few high peaks and nothing more.
One day we found a whole row of rooms closed, just those that contained our favorites of the Rembrandt gallery. What was the cause of it? Preparations were being made for the Czar's dinner. A great court dinner is given every Friday in the splendid halls of the Hermitage, and suitable preparations are made on the previous day. Flowers are placed everywhere, dishes and silver are brought and kept under special watch. The Czar's table is placed in the large Italian hall; the courtier's tables in the adjoining halls. The conservatories110 and prominent artists have already petitioned for the abolition111 of this barbaric custom, for the vapors112 from the viands113 do not in any wise contribute to the preservation114 of the costly115 paintings. But how[Pg 82] are exhortations116 of warning to reach the Czar's ear? They are derided117 by the servile courtiers, and held up to scorn as professional fancies of but little significance when compared with the wish of princes to dine among the finest works of art in the world. The consciousness that great works of art are merely kept in trust by their passing owners, kept for their true owner, progress-making humanity, has perhaps reached the better class, but has not been awakened118 in the autocracy119, where even the conception of humanity has not yet been attained120. They own pictures as they own crown jewels, and consider themselves at liberty to treat them as they please. But on such a matter the subject must remain silent; and he does. It is the environment that influences princes, whether for good or for evil. But the injury to a few paintings, however expensive, is not the worst that rests on the conscience of the ring in the Czar's court, just as the Hermitage is not the most objectionable feature of St. Petersburg. When the Russian empire shall have overcome the phase of barbarian121 mistrust for strangers and of oppressive police management, when it shall have really opened its gates, the Hermitage will become a true centre of attraction with few equals in the universe. Then will become common property those wonder works that to-day are still beyond the reach of common knowledge. In the Russia of to-day a treasury122 of culture like the Hermitage is almost an anachronism.
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1
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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forerunner
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| n.前身，先驱（者），预兆，祖先 | |
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velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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hip
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| n.臀部，髋；屋脊 | |
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hips
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| 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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chubby
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| adj.丰满的，圆胖的 | |
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splendor
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| n.光彩；壮丽，华丽；显赫，辉煌 | |
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caressing
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| 爱抚的，表现爱情的，亲切的 | |
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intensifies
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| n.（使）增强， （使）加剧( intensify的名词复数 )v.（使）增强， （使）加剧( intensify的第三人称单数 ) | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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luxurious
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| adj.精美而昂贵的；豪华的 | |
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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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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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thigh
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| n.大腿；股骨 | |
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contrition
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| n.悔罪，痛悔 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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penitent
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| adj.后悔的；n.后悔者；忏悔者 | |
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skull
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| n.头骨；颅骨 | |
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repentance
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| n.懊悔 | |
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parable
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| n.寓言，比喻 | |
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authentic
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| a.真的，真正的；可靠的，可信的，有根据的 | |
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gems
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| growth； economy； management； and customer satisfaction 增长 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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sketching
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| n.草图 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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conciliation
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| n.调解，调停 | |
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blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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prodigal
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| adj.浪费的，挥霍的，放荡的 | |
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intensity
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| n.强烈，剧烈；强度；烈度 | |
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bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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amazement
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| n.惊奇，惊讶 | |
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warding
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| 监护，守护（ward的现在分词形式） | |
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beholder
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| n.观看者，旁观者 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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fanatic
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| n.狂热者，入迷者；adj.狂热入迷的 | |
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slay
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| v.杀死，宰杀，杀戮 | |
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sweeping
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| adj.范围广大的，一扫无遗的 | |
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bode
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| v.预示 | |
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betrothed
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| n. 已订婚者 动词betroth的过去式和过去分词 | |
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mythological
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| adj.神话的 | |
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legitimate
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| adj.合法的，合理的，合乎逻辑的；v.使合法 | |
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joyously
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| ad.快乐地, 高兴地 | |
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dame
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| n.女士 | |
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humbly
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| adv. 恭顺地，谦卑地 | |
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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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akin
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| adj.同族的，类似的 | |
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impatience
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| n.不耐烦，急躁 | |
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50
nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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51
shimmering
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| v.闪闪发光，发微光( shimmer的现在分词 ) | |
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52
calligrapher
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| n.书法家 | |
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accredited
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| adj.可接受的；可信任的；公认的；质量合格的v.相信( accredit的过去式和过去分词 )；委托；委任；把…归结于 | |
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54
versatility
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| n.多才多艺，多样性，多功能 | |
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omniscience
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| n.全知，全知者，上帝 | |
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exuberant
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| adj.充满活力的；（植物）繁茂的 | |
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sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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imprint
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| n.印痕，痕迹；深刻的印象；vt.压印，牢记 | |
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perennial
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| adj.终年的；长久的 | |
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ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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61
adorned
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| [计]被修饰的 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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detailed
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| adj.详细的，详尽的，极注意细节的，完全的 | |
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superfluous
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| adj.过多的，过剩的，多余的 | |
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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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66
irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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victorious
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| adj.胜利的，得胜的 | |
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gaping
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| adj.口的；张口的；敞口的；多洞穴的v.目瞪口呆地凝视( gape的现在分词 )；张开，张大 | |
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69
jaws
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| n.口部；嘴 | |
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70
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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71
tugging
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| n.牵引感v.用力拉，使劲拉，猛扯( tug的现在分词 ) | |
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72
vestige
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| n.痕迹，遗迹，残余 | |
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73
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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74
dome
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| n.圆屋顶，拱顶 | |
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75
saviour
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| n.拯救者，救星 | |
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76
fervor
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| n.热诚；热心；炽热 | |
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aspired
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| v.渴望，追求( aspire的过去式和过去分词 ) | |
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robust
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| adj.强壮的，强健的，粗野的，需要体力的，浓的 | |
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tenacious
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| adj.顽强的，固执的，记忆力强的，粘的 | |
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80
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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81
decadent
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| adj.颓废的，衰落的，堕落的 | |
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82
sonata
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| n.奏鸣曲 | |
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83
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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84
affluence
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| n.充裕，富足 | |
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85
attire
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| v.穿衣，装扮[同]array；n.衣着；盛装 | |
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86
stylishly
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| adv.时髦地，新式地 | |
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ascending
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| adj.上升的，向上的 | |
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88
rustling
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| n. 瑟瑟声，沙沙声 adj. 发沙沙声的 | |
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foliage
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| n.叶子，树叶，簇叶 | |
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creed
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| n.信条；信念，纲领 | |
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painstaking
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| adj.苦干的；艰苦的，费力的，刻苦的 | |
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elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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93
doctrines
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| n.教条( doctrine的名词复数 )；教义；学说；（政府政策的）正式声明 | |
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genre
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| n.(文学、艺术等的)类型，体裁，风格 | |
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fabrics
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| 织物( fabric的名词复数 )； 布； 构造； （建筑物的）结构（如墙、地面、屋顶）：质地 | |
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mansions
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| n.宅第，公馆，大厦( mansion的名词复数 ) | |
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triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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pious
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| adj.虔诚的；道貌岸然的 | |
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99
deride
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| v.嘲弄，愚弄 | |
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100
conscientious
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| adj.审慎正直的，认真的，本着良心的 | |
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101
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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102
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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103
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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piquant
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| adj.辛辣的，开胃的，令人兴奋的 | |
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105
virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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106
frivolous
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| adj.轻薄的；轻率的 | |
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107
positively
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| adv.明确地，断然，坚决地；实在，确实 | |
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acclaimed
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| adj.受人欢迎的 | |
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109
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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110
conservatories
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| n.（培植植物的）温室，暖房( conservatory的名词复数 ) | |
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abolition
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| n.废除，取消 | |
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112
vapors
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| n.水汽，水蒸气，无实质之物( vapor的名词复数 )；自夸者；幻想 [药]吸入剂 [古]忧郁（症）v.自夸，（使）蒸发( vapor的第三人称单数 ) | |
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113
viands
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| n.食品，食物 | |
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114
preservation
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| n.保护，维护，保存，保留，保持 | |
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115
costly
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| adj.昂贵的，价值高的，豪华的 | |
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116
exhortations
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| n.敦促( exhortation的名词复数 )；极力推荐；（正式的）演讲；（宗教仪式中的）劝诫 | |
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117
derided
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| v.取笑，嘲笑( deride的过去式和过去分词 ) | |
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118
awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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119
autocracy
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| n.独裁政治，独裁政府 | |
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120
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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121
barbarian
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| n.野蛮人；adj.野蛮(人)的；未开化的 | |
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122
treasury
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| n.宝库；国库，金库；文库 | |
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