The Tell-Tale Heart - The Pioneer, January 1843 — reading text

either slavishly adhere to prescribed rules, and, No. 65 isa St. John by Leonardo da Vinei, lacking the boldness of self-reliance, become and beside it a head of Raphael by his Master mere imitators—or else beginning with a Perugino. When we glanced down the page crude and imperfect notion of the ideal, soon and read these names there was a quicker beat- learn to distort nature into what they in their ing of the heart, a thousand remembrances wisdom consider improvements, and aim to flocked around us and we quitted Murillo with- produce not what is real but what is false and out a regret. Were we not repaid? They untrue. Until we again shall sit down before were sure to be by Leonardo and Perugino nature as children, willing to learn, as humble because it was so stated in the catalogue, and and ignorant scholars, and without attempting who ever knew a catalogue to lie. It was to wrench her teachings into those creeds which printed and it must be true. But the picture are the result of a futile and absurd attempt to of the St. John was so remarkable that it was procrustianize her to our preconceived notions, along time before we gained a thorough com- we shall see no great works of Art. It prehension of it. At first we laughed, but requires more boldness and daring to follow recollecting that all great works must be studied strictly her leading, and more genius to com- ere they ean be understood, and must be under- prehend her as she plainly is — than to acquaint stood to be admired, we looked again and soon oneself with all the history, means, and out- its reality dawned upon us. Here was the ward appliances of Art. It is a very hard true ideal—nature had never stood in this thing to paint well, even with the most sincere man’s way. It had been our lot to hear that determination to adhere to nature — but with- Leonardo da Vinci was a great painter — now out such a determination it is impossible. We it was realized to us if never before. Allston are now in the della-crusean period of Art. has passed for a tolerable painter among us, yet The subject is an endless one—and we compare for a moment that fleshly motley which would that we had time and space to handle it, is ‘‘nature’s only wear,’’ that luminous color but there is other work to be done, and we and broken surface of skin in the Jew’s Head must sheath the broad sword and substitute the (No. 41) with this St. John. What a con- rapier. Our purpose is not to discuss the ethies trast. One was nothing but a real head — we of Art, but to criticise some of its productions. may see a hundred such in any Jewish popula- In so doing, our consideration will be first tion — but the other was a pure ideal, and gave directed to the older pictures, and then to those no foolish hint of nature. Yes thought we, of the present day. this is a great work. ‘Then falling into a Our object in visiting the room was to see reverie we seemed to see the forms of the the ** Boys and Melons *’ (No. 40) by Murillo. old masters, walking again their earthly paths, Nor were we disappointed. The color and and revisiting the scenes over which they have texture of the flesh is leathery and hard ; but spread such a glory. We seemed to see them the absence of trickery, the sincere reality as with startled air they beheld the innumerous of the picture, and its plain matter of fact pictures which bear their names. Poor fellows! had a great charm. Nor is there wanting after their passage through the waters of Lethe, poetic feeling and happy insight, for they are it was foolish to expect them to remember all but the blossom while the fact is but the stem. their works. How should they, when we our- ‘Throughout there was unity in the design, skill selves can scarcely count them? No cell or in producing the result, and a quiet keeping corner of the world they find without some which harmonized the whole. And when we | genuine specimen from their pencils, and  14 THE PIONEER. their tour through America is but a series of pencil, but the copies must necessarily be a toil- extatic surprises. Italy may boast of some somely elaborate imitation, and of course are few hasty sketches, but in the American gal- wholly destitute of the interest attaching to the leries these noble spirits gaze in rapture upon originals. their greatest works. We thought we saw We now come to the modern pictures. We the mild-eyed and long-bearded Leonardo pause find no fault with any one for painting bad pic- before this very St. John. ‘‘ It was my favor- tures. ‘There are many persons who have not ite,’’ said he, ‘‘ how many an hour have I the power to paint well, who must paint some- —— lingered over that head, touching and retouch- how. We ourselves have painted some very ing and never finishing, while in the palmiest bad pictures, but we never exhibited them. days of manhood.’’ Who laughed? So long as such things are hushed up among All that we can say of No. 28 is that we did one’s friends, they are an innocent monomania, not know that Guido Reni painted such kind of with which no one has a right to meddle, pictures and are sorry for it. If ‘ ’tis true inasmuch as they injure no one. But when a ’tis pity.’’? It must have been quite disagree- picture is exhibited to the public, and makes a eee able to Neptune, and especially to Neptune’s claim upon the public attention, betakes itself horse, to be obliged to compress his limbs into to a richly ornamented frame, and seems to dare so small a canvass, and not very agreeable to us to find a single fault with it, we think it is the artist to be reduced solely to vermilion and fair game. When a man exhibits a picture, he the reds. However, considering the difficulties, invites all to criticise it, and if it be in good it is surprising how much Guido did. part, has no right to find fault with any one for Benjamin West’s reputation we always so doing. There are many persons of most thought was not warranted by his works, and unexceptionable character, and of hearty good we never chanced to see a picture more utterly fellowship, who nevertheless will paint shock- deficient in grace, sentiment, drawing and color ingly ; and though for the sake of such a than his ‘‘ Venus detaining Adonis from the person one would be tender, yet for the sake chase,’’ (No. 34.) Yes there is one worse, we of justice the truth should be spoken. Indis- beg pardon, his ‘*‘ Death on the Pale Horse.’’ criminate praise is always an injury, for he All his figures are lay figures, with stereotyped who praises what is bad degrades the standard faces —all his action forced and unnatural, and of excellence, and disallows the claims of merit. ee ——————ee - all his ideas common-place. We used to For all injurious remarks we shall be serry, wonder at the unnatural taste of Adonis in inasmuch as every man who tries his best is ———ee we preferring the chase to the embraces of Venus, deserving of praise, even though the result be but Benjamin West has solved the riddle. If absolutely bad. But we will never consent that this be ee we do not wonder at Adonis— art shall be a Limbo, in which any ignorant and and if this be Adonis, Venus was a greater fool awkward person may disport himself, and win than we took her to be. praise from his ungainly motions. ———— No. 39. ‘‘Jacob’s Dream,’’ by Baroccio, No. 98. ‘* The Custom House Scene,’’ by we should take to be a cavalier asleep, in a S. B. Foster, has much merit. ‘The story is very uncomfortable position and dressed in very well told, the arrangement and disposition of bad taste. ‘The temerity of the persons in the the figures good, and the expressions humorous back-ground in trusting to such a ladder is and characteristic. ‘The picture is painted care- also remarkable, and saving that the Hebrews fully, and though it savors somewhat of the were arash people (witness Jephtha) we should French school, it is devoid of that disagreeable almost doubt whether they really ever were so peculiarity so well known as French nature. foolish. We think Mr. T. T. Spear should better The Archangel Michael must have visited have employed himself in painting from some France when Mr. J. B. Chatelain improved real head, than in indulging himself in so poor upon Guido in No. 14. a recollection of the ‘* Beatrice’’ of Allston. No. 35. ‘* La Voluptueuse,’’ by Greuze His memory must be very miserable, and his ought to be burned —it is badly painted and portraits are by far the best of his pictures. exceedingly disgusting. We are sorry for Mr. No. 75. A portrait by J. Eames, is one of « Greuze’s sake that he ever painted such a the finest pieces of color that we have seen for picture.