because it is impossible, by the laws of matter and motion, that Another kind of Exaggeration is necessary to retain the characteristic impressions of nature on reduced scale. It is not possible, for instance, to give the leafage of trees in its proper proportion, on a small scale, without entirely losing their grace of form and curvature; of this the best proof is found in the calotype or daguerreotype, which fail in foliage, not only because the green rays are ineffective, but because, on the small scale of the image, the reduced leaves lose their organization, and look like moss attached to sticks. In order to retain, therefore, their character of flexibility, the painter is often compelled to increase the proportionate size of the leaves, and to arrange them in generic masses. Of this treatment compare the grand examples throughout the Liber Studiorum. That it is by such means only that the ideal character of objects is to be preserved, has been observed in the 13th chapter of the first section. In all these cases exaggeration is only lawful as the sole means of arriving at truth of impression when strict fidelity is out of the question. Other modes of Exaggeration there are, on which I shall not at present farther insist, the proper place for their discussion being in treating of the sublime; and these which I have at present in §21. Thirdly, expression of characteristic minished scale. Necessary in features on di § 22. Recapitulation. stanced are enough to establish the point at issue, respecting imaginative verity, inasmuch as we find that exaggeration itself, if imaginative, is referred to principles of truth, and of actual being. We have now, I think, reviewed the various modes in which Imagination contemplative may be exhibited in art, and arrived at all necessary certainties respecting the essence of the faculty: which we have found in its three functions, Associative of Truth, Penetrative of Truth, and Contemplative of Truth; and having no dealings nor relations with any kind of falsity. One task, however, remains to us, namely, to observe the operation of the Theoretic and Imaginative faculties together, in the attempt at realization to the bodily sense of Beauty supernatural and divine. CHAPTER V. OF THE SUPERHUMAN IDEAL. detail. IN our investigation, in the first Section, of the laws of beauty, § 1. The subject is not to be we confined ourselves to the observation of lower nature, or of here treated in humanity. We were prevented from proceeding to deduce conclusions respecting divine ideality by our not having then established any principles respecting the Imaginative faculty, by which, under the discipline of the Theoretic, such ideality is conceived. I had purposed to conclude the present Section by a careful examination of this subject; but as this is evidently foreign to the matter immediately under discussion, and involves questions of great intricacy respecting the development of mind among those pagan nations who are supposed to have produced high examples of spiritual ideality, I believe it will be better to delay such inquiries until we have concluded our detailed observation of the beauty of visible nature; and I shall therefore at present take notice only of one or two principles, which were referred to, or implied, in the chapter respecting the Human ideal, and without the enunciation of which that chapter might lead to false conclusions. The first, § 2. The con ceivable modes of manifestation There are four ways in which Beings supernatural may be conceived as manifesting themselves to human sense. by external types, signs, or influences; as God to Moses in the of Spiritual flames of the bush, and to Elijah in the voice of Horeb. The second, by the assuming of a form not properly belonging to them; as the Holy Spirit of that of a Dove; the second person of the Trinity of that of a Lamb; and so such manifestations, under Angelic or other form, of the first person of the Trinity, as seem to have been made to Abraham, Moses, and Ezekiel. Beings are four. § 3. And these are in or through crea ture forms fa miliar to us. § 4. Superna tural character may be impress ed on these either by pheno mena inconsist ent with their common nature (compare Chap. IV. § 16.), § 5. Or by inherent dignity. The third, by the manifestation of a form properly belonging to them, but not necessarily seen; as of the Risen Christ to his disciples when the doors were shut. And the fourth, by their operation on the human form which they influence or inspire; as in the shining of the face of Moses. It is evident that in all these cases, wherever there is form at all, it is the form of some creature to us known. It is no new form peculiar to spirit, nor can it be. We can conceive of none. Our inquiry is simply therefore, by what modifications those creature forms to us known, as of a lamb, a bird, or a human creature, may be explained as signs or habitations of Divinity, or of angelic essence, and not creatures such as they seem. This may be done in two ways. First, by effecting some change in the appearance of the creature inconsistent with its actual nature; as by giving it colossal size, or unnatural colour or material, as of gold, or silver, or flame, instead of flesh; or taking away its property of matter altogether, and forming it of light or shade, or in an intermediate step, of cloud or vapour; or explaining it by terrible concomitant circumstances, as of wounds in the body, or strange lights and seemings round about it; or joining of two bodies together, as in angels' wings. Of all which means of attaining supernatural character (which, though in their nature ordinary and vulgar, are yet effective and very glorious in mighty hands) we have already seen the limits in speaking of the Imagination. But the second means of obtaining supernatural character is that with which we are now concerned, namely, retaining the actual form in its full and material presence, and, without aid from any external interpretation whatsoever, to raise that form by mere inherent dignity to such pitch of power and impressiveness as cannot but assert and stamp it for superhuman. On the north side of the Campo Santo at Pisa, are a series of paintings from the Old Testament history by Benozzo Gozzoli. In the earlier of these, angelic presences, mingled with human, occur frequently, illustrated by no awfulness of light, nor incorporeal tracing. Clear revealed they move, in human forms, in the broad daylight and on the open earth, side by side, and hand in hand with men. But they never miss of the angel. He who can do this, has reached the last pinnacle and utmost power of ideal, or any other art. He stands in no need, thenceforward, of cloud, or lightning, or tempest, or terror of mystery. His sublime is independent of the elements. It is of that which shall stand when they shall melt with fervent heat, and light the firmament when the sun is as sackcloth of hair. Let us consider by what means this has been effected, so far as they are by analysis traceable; and that is not far, for here, as always, we find that the greater part of what has been rightly accomplished has been done by faith and intense feeling, and cannot, by aid of any rules or teaching, be either tried, estimated, or imitated. And first, of the expression of supernatural influence on forms actually human, as of Sibyl or Prophet. It is evident that not only here is it unnecessary, but we are not altogether at liberty to trust for expression to the utmost ennobling of the human form: for we cannot do more than this, when that form is to be the actual representation, and not the recipient of Divine presence. Hence in order to retain the actual humanity definitely, we must leave upon it such signs of the operation of Sin and the liability to Death as are consistent with human ideality; and often more than these, definite signs of immediate and active evil, when the prophetic spirit is to be expressed in men such as were Saul and Balaam; neither may we ever, with just discrimination, touch the utmost limits of beauty in human form when inspiration only is to be expressed, and not angelic or divine being; of which reserve and subjection the most instructive instances are found in the works of Angelico, who invariably uses inferior types for the features of humanity, even glorified (excepting always the Madonna), nor ever exerts his full power of beauty, either in feature or expression, except in angels, or in the Madonna, or in Christ. Now the expression of spiritual influence without supreme elevation of the bodily type we have seen to be a work of Penetrative imagination, and we found it accomplished by Michael Angelo; but I think by him only. I am aware of no one else who, to my mind, has expressed the inspiration of Prophet or Sibyl; this, however, I affirm not, but shall leave to the determination of the reader, as the § 6. First, Of the expression of Inspiration. |