by Walter Pater
But, although the number of Giorgione’s extant works has been thus limited by recent criticism, all is not done when the real and the traditional elements in what concerns him have been discriminated; for, in what is connected with a great name, much that is not real is often very stimulating; and, for the aesthetic philosopher, over and above the real Giorgione and his authentic extant works, there remains the Giorgionesque also — an influence, a spirit or type in art, active in men so different as those to whom many of his supposed works are really assignable — a veritable school, which grew together out of all those fascinating works rightly or wrongly attributed to him; out of many copies from, or variations on him, by unknown or uncertain workmen, whose drawings and designs were, for various reasons, prized as his; out of the immediate impression he made upon his contemporaries, and with which he continued in men’s minds; out of many traditions of subject and treatment, which really descend from him to our own time, and by retracing which we fill out the original image; Giorgione thus becoming a sort of impersonation of Venice itself, its projected reflex or ideal, all that was intense or desirable in it thus crystallising about the memory of this wonderful young man.
And now, finally, let me illustrate some of the characteristics of this School of Giorgione, as we may call it, which, for most of us, notwithstanding all that negative criticism of the “new Vasari,” will still identify itself with those famous pictures at Florence, Dresden and Paris; and in which a certain artistic ideal is defined for us — the conception of a peculiar aim and procedure in art, which we may understand as the Giorgionesque, wherever we find it, whether in Venetian work generally, or in work of our own time — and of which the Concert, that undoubted work of Giorgione in the Pitti Palace, is the typical instance, and a pledge authenticating the connexion of the school with the master.
I have spoken of a certain interpretation of the matter or subject of a work of art with the form of it, a condition realised absolutely only in music, as the condition to which every form of art is perpetually aspiring. In the art of painting, the attainment of this ideal condition, this perfect interpretation of the subject with colour and design, depends, of course, in great measure, on dexterous choice of that subject, or phase of subject; and such choice is one of the secrets of Giorgione’s school. It is the school of genre, and employs itself mainly with “painted idylls,” but, in the production of this pictorial poetry, exercises a wonderful tact in the selecting of such matter as lends itself most readily and entirely to pictorial form, to complete expression by drawing and colour. For although its productions are painted poems, they belong to a sort of poetry which tells itself without an articulated story. The master is pre-eminent for the resolution, the ease and quickness, with which he reproduces instantaneous motion — the lacing-on of armour, with the head bent back so stately — the fainting lady — the embrace, rapid as the kiss caught, with death itself, from dying lips — the momentary conjunction of mirrors and polished armour and still water, by which all the sides of a solid image are presented at once, solving that casuistical question whether painting can present an object as completely as sculpture. The sudden act, the rapid transition of thought, the passing expression — this he arrests with that vivacity which Vasari has attributed to him, il fuoco Giorgionesco, as he terms it. Now it is part of the ideality of the highest sort of dramatic poetry, that it presents us with a kind of profoundly significant and animated instants, a mere gesture, a look, a smile, perhaps — some brief and wholly concrete moment — into which, however, all the motives, all the interests and effects of a long history, have condensed themselves, and which seem to absorb past and future in an intense consciousness of the present. Such ideal instants the school of Giorgione selects, with its admirable tact, from that feverish, tumultuously coloured life of the old citizens of Venice — exquisite pauses in time, in which, arrested thus, we seem to be spectators of all the fulness of existence, and which are like some consummate extract or quintessence of life.
It is to the law or condition of music, as I said, that all art like this is really aspiring and, in the school of Giorgione, the perfect moments of music itself, the making or hearing of music, song or its accompaniment, are themselves prominent as subjects. On that background of the silence of Venice, which the visitor there finds so impressive, the world of Italian music was then forming. In choice of subject, as in all besides, the Concert of the Pitti Palace is typical of all that Giorgione, himself an admirable musician, touched with his influence; and in sketch or finished picture, in various collections, we may follow it through many intricate variations — men fainting at music, music heard at the pool-side while people fish, or mingled with the sound of the pitcher in the well, or heard across running water, or among the flocks; the tuning of instruments — people with intent faces, as if listening, like those described by Plato in an ingenious passage, to detect the smallest interval of musical sound, the smallest undulation in the air, or feeling for music in thought on a stringless instrument, ear and finger refining themselves infinitely, in the appetite for sweet sound — a momentary touch of an instrument in the twilight, as one passes through some unfamiliar room, in a chance company.
In such favourite incidents, then, of Giorgione’s school, music or music-like intervals in our existence, life itself is conceived as a sort of listening — listening to music, to the reading of Bandello’s novels, to the sound of water, to time as it flies. Often such moments are really our moments of play, and we are surprised at the unexpected blessedness of what may seem our least important part of time; not merely because play is in many instances that to which people really apply their own best powers, but also because at such times, the stress of our servile, everyday attentiveness being relaxed, the happier powers in things without us are permitted free passage, and have their way with us. And so, from music, the school of Giorgione passes often to the play which is like music; to those masques in which men avowedly do but play at real life, like children “dressing up,” disguised in the strange old Italian dresses, parti-coloured, or fantastic with embroidery and furs, of which the master was so curious a designer, and which, above all the spotless white linen at wrist and throat, he painted so dexterously.
And when people are happy in this thirsty land water will not be far off; and in the school of Giorgione, the presence of water — the well, or marble-rimmed pool, the drawing or pouring of water, as the woman pours it from a pitcher with her jewelled hand in the Fete Champetre, listening, perhaps, to the cool sound as it falls, blent with the music of the pipes — is as characteristic, and almost as suggestive, as that of music itself. And the landscape feels, and is glad of it also — a landscape full of clearness, of the effects of water, of fresh rain newly passed through the air, and collected into the grassy channels; the air, too, in the school of Giorgione, seeming as vivid as the people who breathe it, and literally empyrean, all impurities being burnt out of it, and no taint, no floating particle of anything but its own proper elements allowed to subsist within it.
Its scenery is such as in England we call “park scenery,” with some elusive refinement felt about the rustic buildings, the choice grass, the grouped trees, the undulations deftly economised for graceful effect. Only, in Italy all natural things are, as it were, woven through and through with gold thread, even the cypress revealing it among the folds of its blackness. And it is with gold dust, or gold thread, that these Venetian painters seem to work, spinning its fine filaments, through the solemn human flesh, away into the white plastered walls of the thatched huts. The harsher details of the mountains recede to a harmonious distance, the one peak of rich blue above the horizon remaining but as the visible warrant of that due coolness which is all we need ask here of the Alps, with their dark rains and streams. Yet what real, airy space, as the eye passes from level to level, through the long-drawn valley in which Jacob embraces Rachel among the flocks! Nowhere is there a truer instance of that balance, that modulated unison of landscape and persons
— of the human image and its accessories — already noticed as characteristic of the Venetian school, so that, in it, neither personage nor scenery is ever a mere pretext for the other.
Something like this seems to me to be the vraie verite about Giorgione, if I may adopt a serviceable expression, by which the French recognise those more liberal and durable impressions which, in respect of any really considerable person or subject, anything that has at all intricately occupied men’s attention, lie beyond, and must supplement, the narrower range of the strictly ascertained facts about it. In this, Giorgione is but an illustration of a valuable general caution we may abide by in all criticism. As regards Giorgione himself, we have indeed to take note of all those negations and exceptions, by which, at first sight, a “new Vasari” seems merely to have confused our apprehension of a delightful object, to have explained away out of our inheritance from past time what seemed of high value there. Yet it is not with a full understanding even of those exceptions that one can leave off just at this point. Properly qualified, such exceptions are but a salt of genuineness in our knowledge; and beyond all those strictly ascertained facts, we must take note of that indirect influence by which one like Giorgione, for instance, enlarges his permanent efficacy and really makes himself felt in our culture. In a just impression of that, is the essential truth, the vraie verite concerning him.
1877.
JOACHIM DU BELLAY
In the middle of the sixteenth century, when the spirit of the Renaissance was everywhere, and people had begun to look back with distaste on the works of the middle age, the old Gothic manner had still one chance more, in borrowing something from the rival which was about to supplant it. In this way there was produced, chiefly in France, a new and peculiar phase of taste with qualities and a charm of its own, blending the somewhat attenuated grace of Italian ornament with the general outlines of Northern design. It produced the Chateau de Gaillon, as you may still see it in the delicate engravings of Israel Silvestre — a Gothic donjon veiled faintly by a surface of dainty Italian traceries — Chenonceaux, Blois, Chambord, and the church of Brou. In painting, there came from Italy workmen like Maitre Roux and the masters of the school of Fontainebleau, to have their later Italian voluptuousness attempered by the naive and silvery qualities of the native style; and it was characteristic of these painters that they were most successful in painting on glass, an art so essentially medieval. Taking it up where the middle age had left it, they found their whole work among the last subtleties of colour and line; and keeping within the true limits of their material, they got quite a new order of effects from it, and felt their way to refinements on colour never dreamed of by those older workmen, the glass-painters of Chartres or Le Mans. What is called the Renaissance in France is thus not so much the introduction of a wholly new taste ready-made from Italy, but rather the finest and subtlest phase of the middle age itself, its last fleeting splendour and temperate Saint Martin’s summer. In poetry, the Gothic spirit in France had produced a thousand songs; and in the Renaissance, French poetry too did but borrow something to blend with a native growth, and the poems of Ronsard, with their ingenuity, their delicately figured surfaces, their slightness, their fanciful combinations of rhyme, are but the correlative of the traceries of the house of Jacques Coeur at Bourges, or the Maison de Justice at Rouen.
There was indeed something in the native French taste naturally akin to that Italian finesse. The characteristic of French work had always been a certain nicety, a remarkable daintiness of hand, une nettete remarquable d’execution. In the paintings of Francois Clouet, for example, or rather of the Clouets — for there was a whole family of them — painters remarkable for their resistance to Italian influences, there is a silveriness of colour and a clearness of expression which distinguish them very definitely from their Flemish neighbours, Hemling or the Van Eycks. And this nicety is not less characteristic of old French poetry. A light, aerial delicacy, a simple elegance — une nettete remarquable d’execution: — these are essential characteristics alike of Villon’s poetry, and of the Hours of Anne of Brittany. They are characteristic too of a hundred French Gothic carvings and traceries. Alike in the old Gothic cathedrals, and in their counterpart, the old Gothic chansons de geste, the rough and ponderous mass becomes, as if by passing for a moment into happier conditions, or through a more gracious stratum of air, graceful and refined, like the carved ferneries on the granite church at Folgoat, or the lines which describe the fair priestly hands of Archbishop Turpin, in the song of Roland; although below both alike there is a fund of mere Gothic strength, or heaviness.*
*The purely artistic aspects of this subject have been interpreted, in a work of great taste and learning, by Mrs. Mark Pattison: — The Renaissance of Art in France.
And Villon’s songs and Clouet’s paintings are like these. It is the higher touch making itself felt here and there, betraying itself, like nobler blood in a lower stock, by a fine line or gesture or expression, the turn of a wrist, the tapering of a finger. In Ronsard’s time that rougher element seemed likely to predominate. No one can turn over the pages of Rabelais without feeling how much need there was of softening, of castigation. To effect this softening is the object of the revolution in poetry which is connected with Ronsard’s name. Casting about for the means of thus refining upon and saving the character of French literature, he accepted that influx of Renaissance taste, which, leaving the buildings, the language, the art, the poetry of France, at bottom, what they were, old French Gothic still, gilds their surfaces with a strange, delightful, foreign aspect passing over all that Northern land, in itself neither deeper nor more permanent than a chance effect of light. He reinforces, he doubles the French daintiness by Italian finesse. Thereupon, nearly all the force and all the seriousness of French work disappear; only the elegance, the aerial touch, the perfect manner remain. But this elegance, this manner, this daintiness of execution are consummate, and have an unmistakable aesthetic value.
So the old French chanson, which, like the old Northern Gothic ornament, though it sometimes refined itself into a sort of weird elegance, was often, in its essence, something rude and formless, became in the hands of Ronsard a Pindaric ode. He gave it structure, a sustained system, strophe and antistrophe, and taught it a changefulness and variety of metre which keep the curiosity always excited, so that the very aspect of it, as it lies written on the page, carries the eye lightly onwards, and of which this is a good instance: —
Avril, la grace, et le ris
De Cypris,
Le flair et la douce haleine;
Avril, le parfum des dieux,
Qui, des cieux,
Sentent l’odeur de la plaine;
C’est toy, courteis et gentil,
Qui, d’exil
Retire ces passageres,
Ces arondelles qui vont,
Et qui sont
Du printemps les messageres.
That is not by Ronsard, but by Remy Belleau, for Ronsard soon came to have a school. Six other poets threw in their lot with him in his literary revolution — this Remy Belleau, Antoine de Baif, Pontus de Tyard, Etienne Jodelle, Jean Daurat, and lastly Joachim du Bellay; and with that strange love of emblems which is characteristic of the time, which covered all the works of Francis the First with the salamander, and all the works of Henry the Second with the double crescent, and all the works of Anne of Brittany with the knotted cord, they called themselves the Pleiad; seven in all, although, as happens with the celestial Pleiad, if you scrutinise this constellation of poets more carefully you may find there a great number of minor stars.
The first note of this literary revolution was struck by Joachim du Bellay in a little tract written at the early age of twenty-four, which coming to us through three centuries seems of yesterday, so full is it of those delicate critical distinctions which are sometimes supposed peculiar to modern writers. The piece has for its title La Deffense et Illustration de la langue Francoyse; and its problem is how to illustrate or ennob
le the French language, to give it lustre. We are accustomed to speak of the varied critical and creative movement of the fifteenth and sixteenth centuries as the Renaissance, and because we have a single name for it we may sometimes fancy that there was more unity in the thing itself than there really was. Even the Reformation, that other great movement of the fifteenth and sixteenth centuries, had far less unity, far less of combined action, than is at first sight supposed; and the Renaissance was infinitely less united, less conscious of combined action, than the Reformation. But if anywhere the Renaissance became conscious, as a German philosopher might say, if ever it was understood as a systematic movement by those who took part in it, it is in this little book of Joachim du Bellay’s, which it is impossible to read without feeling the excitement, the animation, of change, of discovery. “It is a remarkable fact,” says M. Sainte-Beuve, “and an inversion of what is true of other languages, that, in French, prose has always had the precedence over poetry.” Du Bellay’s prose is perfectly transparent, flexible, and chaste. In many ways it is a more characteristic example of the culture of the Pleiad than any of its verse; and those who love the whole movement of which the Pleiad is a part, for a weird foreign grace in it, and may be looking about for a true specimen of it, cannot have a better than Joachim du Bellay and this little treatise of his.
Du Bellay’s object is to adjust the existing French culture to the rediscovered classical culture; and in discussing this problem, and developing the theories of the Pleiad, he has lighted upon many principles of permanent truth and applicability. There were some who despaired of the French language altogether, who thought it naturally incapable of the fulness and elegance of Greek and Latin — cette elegance et copie qui est en la langue Grecque et Romaine — that science could be adequately discussed, and poetry nobly written, only in the dead languages. “Those who speak thus,” says Du Bellay, “make me think of those relics which one may only see through a little pane of glass, and must not touch with one’s hands. That is what these people do with all branches of culture, which they keep shut up in Greek and Latin books, not permitting one to see them otherwise, or transport them out of dead words into those which are alive, and wing their way daily through the months of men.” “Languages,” he says again, “are not born like plants and trees, some naturally feeble and sickly, others healthy and strong and apter to bear the weight of men’s conceptions, but all their virtue is generated in the world of choice and men’s freewill concerning them. Therefore, I cannot blame too strongly the rashness of some of our countrymen, who being anything rather than Greeks or Latins, depreciate and reject with more than stoical disdain everything written in French; nor can I express my surprise at the odd opinion of some learned men who think that our vulgar tongue is wholly incapable of erudition and good literature.”
