The more, therefore, a man learneth, so much the better doth he become, and so much the more love doth he win for the arts and for things exalted. Wherefore a man ought not to play the wanton, but should learn in season.
Is the artistic man pious and by nature good? He escheweth the evil and chooseth the good; and hereunto serve the arts, for they give the discernment of good and evil.
Some may learn somewhat of all arts, but that is not given to every man. Nevertheless, there is no rational man so dull but that he may learn the one thing towards which his fancy draweth him most strongly. Hence no man is excused from learning something.
Let no man put too much confidence in himself, for many (pairs of eyes) see better than one. Though it is possible for a man to comprehend more than a thousand (men), still that cometh but rarely to pass.
Many fall into error because they follow their own taste alone; therefore let each look to it that his inclination blind not his judgment. For every mother is well pleased with her own child, and thus also it ariseth that many painters paint figures resembling themselves.
He that worketh in ignorance worketh more painfully than he that worketh with understanding; therefore let all learn to understand aright.
Now I know that in our German nation, at the present time, are many painters who stand in need of instruction, for they lack all real art, yet they nevertheless have many large works to do. Forasmuch then as they are so numerous, it is very needful for them to learn to better their work.
Willingly will I impart my teaching, hereafter written, to the man who knoweth little and would gladly learn; but I will not be cumbered with the proud, who, according to their own estimate of themselves, know all things, and are best, and despise all else. From true artists, however, such as can show their meaning with the hand, I desire to learn humbly and with much thankfulness.
A thing thou beholdest is easier of belief than that thou hearest, but whatever is both heard and seen we grasp more firmly and lay hold on more securely. I will therefore do the work in both ways, that thus I may be better understood.
Whosoever will, therefore, let him hear and see what I say, do, and teach, for I hope it may be of service and not for a hindrance to the better arts, nor lead thee to neglect better things.
I hear moreover of no writer in modern times by whom aught hath been written and made known which I might read for my improvement. For some hide their art in great secrecy, and others write about things whereof they know nothing, so that their words are nowise better than mere noise, as he that knoweth somewhat is swift to discover. I therefore will write down with God’s help the little that I know. Though many will scorn it I am not troubled, for I well know that it is easier to cast blame on a thing than to make anything better. Moreover, I will expound my meaning as clearly and plainly as I can; and, were it possible, I would gladly give everything I know to the light, for the good of cunning students who prize such art more highly than silver or gold. I further admonish all who have any knowledge in these matters that they write it down. Do it truly and plainly, not toilsomely and at great length, for the sake of those who seek and are glad to learn, to the great honour of God and your own praise. If I then set something burning and ye all add to it with skilful furthering, a blaze may in time arise therefrom which shall shine throughout the whole world.
I shall here apply to what is to be called beautiful the same touchstone as that by which we decide what is right. For as what all the world prizeth as right we hold to be right, so what all the world esteemeth beautiful that will we also hold for beautiful, and ourselves strive to produce the like.
No one need blindly follow this theory of mine as though it were quite perfect, for human nature has not yet so far degenerated that another man cannot discover something better. So each may use my teaching as long as it seems good to him, or until he finds something better. Where he is not willing to accept it, he may well hold that this doctrine is not written for him, but for others who are willing.
That must be a strangely dull head which never trusts itself to find out anything fresh, but only travels along the old path, simply following others and not daring to reflect for itself. For it beseems each understanding, in following another, not to despair of itself discovering something better. If that is done, there remaineth no doubt but that in time this art will again reach the perfection it attained amongst the ancients.
Much will hereafter be written about subjects and refinements of painting. Sure am I that many notable men will arise, all of whom will write both well and better about this art, and will teach it better than I; for I myself hold my art at a very mean value, for I know what my faults are. Let every man therefore strive to better these my errors according to his powers. Would to God it were possible for me to see the work and art of the mighty masters to come, who are yet unborn, for I know that I might be improved upon. Ah! how often in my sleep do I behold great works of art and beautiful things, the like whereof never appear to me awake, but so soon as I awake, even the remembrance of them leaveth me.
Compare also the passages already quoted,(p,16,26).
IV
“What an admirable temper!” is the exclamation which expresses our first feeling on reading the foregoing sentences. It renews the spirit of a man merely to peruse such things. Scales fall from our eyes, and we see what we most essentially are, with pleasure, as good children gleefully recognise their goodness: and at the same time we are filled with contrition that we should have ever forgotten it. And this that we most essentially are rational beings, lovers of goodness, children of hope, — how directly Dürer appeals to it: “Nature has implanted in us the desire of knowing all things.” It reminds one of Ben Jonson’s: —
It is a false quarrel against nature, that she helps understanding but in a few, when the most part of mankind are inclined by her thither, if they would take the pains; no less than birds to fly, horses to run, &c., which, if they lose it, is through their own sluggishness, and by that means they become her prodigies, not her children.
There is something refreshing and inspiriting in the mere conviction of our teachableness; and when the same author, referring to Plato’s travels in search of knowledge, says, “He laboured, so must we,” we do not find the comparison humiliating either to Plato or ourselves. For “without a way there is no going,” and every man of superior mould says to us with more or less of benignity, “I am the way: follow me.” Such means or ways of attainment have been followed by all whose success is known to us, and are followed now by all “finely touched and gifted men.” I might quote in illustration of these assertions the whole of Reynolds’ Sixth Discourse, so marvellous for its acute and delicate discrimination; but I will content myself with a few leading passages:
We cannot suppose that any one can really mean to exclude all imitation of others.
It is a common observation that no art was ever invented and carried to perfection at the same time.
The greatest natural genius cannot subsist on its own stock: he who resolves never to ransack any mind but his own will soon be reduced to the poorest of all imitations, he will be obliged to imitate himself, and to repeat what he has often before repeated.
The truth is, he whose feebleness is such as to make other men’s thoughts an encumbrance to him, can have no very great strength of mind or genius of his own to be destroyed: so that not much harm will be done at the worst.
Of course, this last phrase will not apply universally; we must remember that the man who sets out to become an artist, or claims to be one by native gift, has made apparent that he is the possessor of no mean ambition. The humblest may see a way of improvement in their betters, and obey the command, “Follow me.” Every man is not called to follow great artists, but only those who are peculiarly fitted to tread the difficult paths that climb Olympus-hill. Yet to all men alike the great artist in life, he who wedded failure to divinity, says, “Learn of me that I am meek and lowly of heart, and ye shall find rest to your so
uls.”
He who confines himself to the imitation of an individual, as he never proposes to surpass, so he is not likely to equal, the object of his imitation. He professes only to follow; and he that follows must necessarily be behind.
It is of course impossible to surpass perfection, but it is possible to be made one with it.
To find excellences, however dispersed, to discover beauties, however concealed by the multitude of defects with which they are surrounded, can be the work only of him who, having a mind always alive to his art, has extended his views to all ages and to all schools; and has acquired from that comprehensive mass which he has thus gathered to himself a well-digested and perfect idea of his art, to which everything is referred. Like a sovereign judge and arbiter of art, he is possessed of that presiding power which separates and attracts every excellence from every school; selects both from what is great and what is little; brings home knowledge from the east and from the west; making the universe tributary towards furnishing his mind, and enriching his works with originality and variety of inventions.
In this tine passage we get back to our central idea in regard to the sense of proportion “making the universe tributary towards furnishing his mind”; while in the “discovery of beauties” the complete artist “selects both from what is great and what is little,” from the clouds of heaven and from the dunghills of the farmyard.
Study, therefore, the great works of the great masters for ever. Study, as nearly as you can, in the order, in the manner, and on the principles on which they studied. Study nature attentively, but always with those masters in your company; consider them as models which you are to imitate, and at the same time as rivals with whom you are to contend. For “no man can be an artist, whatever he may suppose, upon any other terms.”
Yes, an artist is a child who chooses his parents, nor is he limited to only two. Religion tells all men they have a Father, who is God; philosophy and tradition repeat, “man has a mother, who is Nature.” These sayings are platitudes; their application is so obvious that it is now generally forgotten. If God is a Father, it is the soul that chooses Him; if Nature is a mother, it is the man who chooses to regard her as such, since to the greater number it is well known she seems but a stepmother, and a cruel one at that. Elective affinities, chosen kindred!— “tell me what company you keep, and I will tell you who you are” (what you are worth). How many artist waifs one sees nowadays! lost souls, who choose to be nobody’s children, and think they can teach themselves all they need to know.
I think the very striking agreement between artists so totally different in every respect except eminence, docility and anxiety to further art, as Dürer and Reynolds, ought to impress our minds very deeply: even though, as is certainly the case, the way they point out has been very greatly abandoned of late years, and public institutions in this and other countries proceed to further art on quite other lines; even though critics are almost unanimous in knowing better both the end and the way than the great masters who had not the advantage of a dash of science in their hydromel to make it sparkle, but instead made it yet richer and thicker by stirring up with it piety and religion. I think this “cock-tail and sherry-cobbler” art criticism of to-day is very deleterious to the digestion, and that the piety and enthusiasm which Dürer and Reynolds worked into their art were more wholesome, and better supplied the needs and deficiencies of artistic temperaments.
CHAPTER III. THE LOST TRADITION
I
Many centuries ago the great art of painting was held in high honour by mighty kings, and they made excellent artists rich and held them worthy, accounting such inventiveness a creating power like God’s. For the imagination of a good painter is full of figures, and were it possible for him to live for ever, he would always have from his inward ideas, whereof Plato speaks, something new to set forth by the work of his hand.
Many hundred years ago there were still some famous painters, such as those named Phidias, Praxiteles, Apelles, Polycleitus, Parrhasius, Lysippus, Protogenes, and the rest, some of whom wrote about their art and very artfully described it and gave it plainly to light: but their praise-worthy books are, so far, unknown to us, and perhaps have been altogether lost by war, driving forth of the peoples, and alterations of laws and beliefs — a loss much to be regretted by every wise man. It often came to pass that noble “Ingenia” were destroyed by barbarous oppressors of art; for if they saw figures traced in a few lines they thought it nought but vain, devilish sorcery. And in destroying them they attempted to honour God by something displeasing to Him; and to use the language of men, God was angry with all destroyers of the works of great mastership, which is only attained by much toil, labour, and expenditure of time, and is bestowed by God alone. Often do I sorrow because I must be robbed of the aforesaid masters’ books of art; but the enemies of art despise these things.
Pliny writeth that the old painters and sculptors — such as Apelles, Protogenes, and the rest — told very artistically in writing how a well-built man’s figure might be measured out. Now it may well have come to pass that these noble books were misunderstood and destroyed as idolatrous in the early days of the Church. For they would have said Jupiter should have such proportions, Apollo such others; Venus shall be thus, Hercules thus; and so with all the rest. Had it, however, been my fate to be there at the time, I would have said: “Oh dear, holy lords and fathers, do not so lamentably destroy the nobly discovered arts, which have been gotten by great toil and labour, only because of the abuses made of them. For art is very hard, and we might and would use it for the great honour and glory of God. For, even as the ancients used the fairest figure of a man to represent their false god Apollo, we will employ the same for Christ the Lord, who is fairest of all the earth; and as they figured Venus as the loveliest of women, so will we in like manner set down the same beauteous form for the most pure Virgin Mary, the mother of God; and of Hercules will we make Samson, and thus will we do with all the rest, for such books shall we get never more.” Wherefore, though that which is lost ariseth not again, yet a man may strive after new lore; and for these reasons I have been moved to make known my ideas here following, in order that others may ponder the matter further, and may thus come to a new and better way and foundation.
I certainly do not deny that, if the books of the ancients who wrote about the art of painting still lay before our eyes, my design might be open to the false interpretation that I thought to find out something better than what was known unto them. These books, however, have been totally lost in the lapse of time; so I cannot be justly blamed for publishing my opinions and discoveries in writing, for that is exactly what the ancients did. If other competent men are thereby induced to do the like, our descendants have something which they may add to and improve upon, and thus the art of painting may in time advance and reach its perfection.
II
Whether we should exercise our intellects or logical sense alone upon the records and remains of past ages, or whether they may not be better employed for the exercise and edification of the imaginative faculties, would seem to be a question which, though they did not perhaps in set terms put to themselves, modern historians have very summarily answered; and I think answered wrongly. The records of the past, the records even of yesterday, are necessarily extremely incomplete; to make them at all significant something must be added by the historian. The ‘perception’ of probability is never exact; it varies with the mind between man and man; in the same man even before and after different experiences, &c. But even if the perception of the highest probability were practically exact, it would never suffice; for, as Aristotle says, “it is probable that many things should happen contrary to probability.” From these facts it follows that the man who has the most exhaustive knowledge of what has actually survived, and what has been recorded, will not necessarily form the truest judgment on a question of history; it might always happen that the intuition of some unscholarly person was nearer the truth; still no man could ever de
cide between the two, nor would any sane man think it worth his while to take sides with either of them; such questions are most useful when they are left open. This is the case because the imagination is thus left freer to use such knowledge as it has for the edification of the character; and that model for our example or warning which the imagination constructs may always possibly be the truth. According to the balance in it of apparent probability, with edifying power it will beget conviction. Such a conviction may be doomed to be superseded sooner or later; its value lies in its potency while it lasts. The temper in which we look at our historical heritage is of more importance to us now than the exactitude of our vision; for this latter can never be proved, while the former approves itself by the fruit it bears within us. It is better, more fruitful, to feel with Dürer about the art of Ancient Greece than to know all that can be known of it to-day and feel a great deal less. “Character calls forth character,” said Goethe; we may add, “even from the grave.” Now that the physical miracle of the Resurrection has come to seem so unimportant and uninteresting to educated men, it might be a wise economy to connect its poetry with this experience, that great and creative characters can raise men better worth knowing than Lazarus from the dead. Nietsche thought that Shakespeare had brought Brutus back to life, (though he knew very little of Roman history), and that Brutus was the Roman best worth knowing. “Of all peoples, the Greeks dreamt the dream of life the best,” Goethe said; and again, “For all other arts we have to make some allowance; to Greek art alone we are for ever debtors.” To feel the truth of these sayings with a passion similar to that shown in the passages quoted above from Dürer, must surely be a great help to an artist. Such a passion is an end in itself, or rather is the only means by which we can win spiritual freedom from some of the heavier fetters that modern life lays upon us. It freed Goethe even from Germany.
Masters of Art - Albrecht Dürer Page 51
