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seven discourses on art(艺术七讲座)-第9部分

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of   the   works   of   the   ancient   sculptors;   who;   being   indefatigable   in   the 

school of nature; have left models of that perfect form behind them; which 

an artist would prefer as supremely beautiful; who had spent his whole life 

in that single contemplation。           But if industry carried them thus far; may 

not you also hope for the same reward from the same labour?                         We have 

the same school opened to us that was opened to them; for nature denies 

her instructions to none who desire to become her pupils。 

     To   the   principle   I   have   laid   down;   that   the   idea   of   beauty   in   each 

species     of  beings    is  invariably   one;     it  may   be   objected    that  in   every 

particular species there are various central forms; which are separate and 

distinct   from   each   other;   and   yet   are   undeniably   beautiful;   that   in   the 

human   figure;   for      instance;   the   beauty   of   the   Hercules     is   one;   of  the 

gladiator another; of the Apollo another; which makes so many different 

ideas of beauty。 

     It   is   true;   indeed;   that   these   figures   are   each   perfect   in   their   kind; 

though of different characters and proportions; but still none of them is the 

representation       of  an   individual;    but   of  a  class。    And     as  there   is  one 

general form; which; as I have said; belongs to the human kind at large; so 

in each of these classes there is one common idea and central form; which 

is   the   abstract   of   the   various   individual   forms   belonging   to   that   class。 

Thus; though the forms of childhood and age differ exceedingly; there is a 

common   form   in   childhood;   and   a   common   form   in   age;which   is   the 

more perfect; as it is more remote from all peculiarities。                  But I must add 

further; that though the most perfect forms of each of the general divisions 

of the human figure are ideal; and superior to any individual form of that 

class; yet the highest perfection of the human figure is not to be found in 

any one of them。         It is not in the Hercules; nor in the gladiator; nor in the 

Apollo; but in that form which is taken from them all; and which partakes 

equally of the activity of the gladiator; of the delicacy of the Apollo; and 

of   the   muscular     strength    of  the   Hercules。     For    perfect    beauty   in   any 

species must combine all the characters which are beautiful in that species。 

It cannot consist in any one to the exclusion of the rest:                no one; therefore; 



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must be predominant; that no one may be deficient。 

     The     knowledge      of   these   different    characters;    and    the   power    of 

separating      and   distinguishing      them;    is  undoubtedly      necessary     to  the 

painter; who is to vary his compositions with figures of various forms and 

proportions;      though    he   is  never   to  lose   sight   of  the   general   idea   of 

perfection in each kind。 

     There     is;  likewise;   a  kind   of  symmetry   or     proportion;    which     may 

properly be said to belong to deformity。            A figure lean or corpulent; tall or 

short; though deviating from beauty; may still have a certain union of the 

various   parts;   which   may   contribute   to   make   them;   on   the   whole;   not 

unpleasing。      When the artist has by diligent attention acquired a clear and 

distinct idea of beauty and symmetry; when he has reduced the variety of 

nature to the abstract idea; his next task will be to become acquainted with 

the genuine habits of nature; as distinguished from those of fashion。                    For 

in   the   same   manner;   and   on   the   same   principles;   as   he   has   acquired   the 

knowledge of the real forms of nature; distinct from accidental deformity; 

he    must     endeavour      to   separate     simple    chaste     nature    from    those 

adventitious; those affected and forced airs or actions; with which she is 

loaded by modern education。 

     Perhaps I cannot better explain what I mean than by reminding you of 

what was taught us by the Professor of Anatomy; in respect to the natural 

position     and   movement   of   the   feet。    He   observed      that   the   fashion  of 

turning; them outwards was contrary to the intent of nature; as might be 

seen     from    the  structure    of   the  bones;    and    from    the  weakness      that 

proceeded from that manner of standing。                To this we may add the erect 

position of the head; the projection of the chest; the walking with straight 

knees; and many such actions; which are merely the result of fashion; and 

what nature never warranted; as we are sure that we have been taught them 

when children。 

     I   have   mentioned   but   a   few   of   those   instances;   in   which   vanity   or 

caprice have contrived to distort and disfigure the human form; your own 

recollection will add to these a thousand more of ill… understood methods; 

that   have   been   practised   to   disguise nature;   among   our   dancing…masters; 

hair…dressers; and tailors; in their various schools of deformity。 



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     However the mechanic and ornamental arts may sacrifice to fashion; 

she  must be   entirely  excluded   from  the  art   of  painting;   the  painter   must 

never     mistake     this  capricious     changeling      for  the   genuine     offspring    of 

nature;   he   must   divest   himself   of   all   prejudices   in   favour   of   his   age   or 

country;   he   must   disregard   all   local   and   temporary   ornaments;   and   look 

only   on   those   general   habits   that   are   everywhere   and   always   the   same。 

He addresses his works to the people of every country and every age; he 

calls    upon    posterity     to  be   his   spectators;     and   says    with    Zeuxis;    In 

aeternitatem pingo。 

     The neglect of separating modern fashions from the habits of nature; 

leads to   that   ridiculous   style   which   has   been   practised   by  some   painters 

who have given to Grecian heroes the airs and graces practised in the court 

of Louis XIV。; an absurdity almost as great as it would have been to have 

dressed them after the fashion of that court。 

     To avoid this error; however; and to retain the true simplicity of nature; 

is a task more difficult than at first sight it may appear。 The prejudices in 

favour of the fashions and customs that we have been used to; and which 

are justly called a second nature; make it too often difficult to distinguish 

that   which   is   natural   from   that   which   is   the   result   of   education;   they 

frequently  even   give   a   predilection   in   favour   of   the   artificial   mode;   and 

almost every one is apt to be guided by those local prejudices who has not 

chastised his mind; and regulated the instability of his affections; by the 

eternal invariable idea of nature。 

     Here;     then;   as   before;   we    must    have    recourse     to  the   ancients    as 

instructors。      It   is   from   a   careful   study   of   their   works   that   you   will   be 

enabled to attain to the real simplicity of nature; they will suggest many 

observations;       which     would     probably     escape     you;   if  your    study    were 

confined to nature alone。           And; indeed; I cannot help suspecting; that in 

this instance the ancients had an easier task than the moderns。                     They had; 

probably;      little  or  nothing     to   unlearn;    as   their   manners      were    nearly 

approaching to this desirable simplicity; while the modern artist; before he 

can   see   the   truth   of   things;   is   obliged   to   remove   a   veil;   with   which   the 

fashion of the times has thought proper to cover her。 

     Having gone thus far in our investigation of the great style in painting; 



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if we now should suppose that the artist has formed the true idea of beauty; 

which enables him to give his works a correct and perfect design; if we 

should suppose also that he has acquired a knowledge of the unadulterated 

habits of nature; which gives him simplicity; the rest of his talk is; perhaps; 

less   than   is   generally  imagined。      Beauty   and   simplicity  have   so   great   a 

share in the composition of a great style; that he who has acquired them 

has   little   else   to   learn。 It   must   not;   indeed;   be  
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