seven discourses on art(艺术七讲座)-第29节
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or at least ought to have nothing to do with the question。 He wants not
taste； but sense； and soundness of judgment。
Indeed； perfection in an inferior style may be reasonably preferred to
mediocrity in the highest walks of art。 A landscape of Claude Lorraine
may be preferred to a history of Luca Jordano； but hence appears the
necessity of the connoisseur's knowing in what consists the excellence of
each class； in order to judge how near it approaches to perfection。
Even in works of the same kind； as in history painting； which is
composed of various parts； excellence of an inferior species； carried to a
very high degree； will make a work very valuable； and in some measure
compensate for the absence of the higher kind of merits。 It is the duty of
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the connoisseur to know and esteem； as much as it may deserve； every part
of painting； he will not then think even Bassano unworthy of his notice；
who； though totally devoid of expression； sense； grace； or elegance； may
be esteemed on account of his admirable taste of colours； which； in his
best works； are little inferior to those of Titian。
Since I have mentioned Bassano； we must do him likewise the justice
to acknowledge that； though he did not aspire to the dignity of expressing
the characters and passions of men； yet； with respect to the facility and
truth in his manner of touching animals of all kinds； and giving them what
painters call their character； few have ever excelled him。
To Bassano we may add Paul Veronese and Tintoret； for their entire
inattention to what is justly esteemed the most essential part of our art； the
expression of the passions。 Notwithstanding these glaring deficiencies；
we justly esteem their works； but it must be remembered that they do not
please from those defects； but from their great excellences of another kind；
and in spite of such transgressions。 These excellences； too； as far as they
go； are founded in the truth of general nature。 They tell the truth； though
not the whole truth。
By these considerations； which can never be too frequently impressed；
may be obviated two errors which I observed to have been； formerly at
least； the most prevalent； and to be most injurious to artists： that of
thinking taste and genius to have nothing to do with reason； and that of
taking particular living objects for nature。
I shall now say something on that part of taste which； as I have hinted
to you before； does not belong so much to the external form of things； but
is addressed to the mind； and depends on its original frame； or； to use the
expression； the organisation of the soul； I mean the imagination and the
passions。 The principles of these are as invariable as the former； and are
to be known and reasoned upon in the same manner； by an appeal to
common sense deciding upon the common feelings of mankind。 This
sense； and these feelings； appear to me of equal authority； and equally
conclusive。
Now this appeal implies a general uniformity and agreement in the
minds of men。 It would be else an idle and vain endeavour to establish
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rules of art； it would be pursuing a phantom to attempt to move affections
with which we were entirely unacquainted。 We have no reason to suspect
there is a greater difference between our minds than between our forms； of
which； though there are no two alike； yet there is a general similitude that
goes through the whole race of mankind； and those who have cultivated
their taste can distinguish what is beautiful or deformed； or； in other words；
what agrees with or what deviates from the general idea of nature； in one
case as well as in the other。
The internal fabric of our mind； as well as the external form of our
bodies； being nearly uniform； it seems then to follow； of course； that as the
imagination is incapable of producing anything originally of itself； and can
only vary and combine these ideas with which it is furnished by means of
the senses； there will be； of course； an agreement in the imaginations as in
the senses of men。 There being this agreement； it follows that in all cases；
in our lightest amusements as well as in our most serious actions and
engagements of life； we must regulate our affections of every kind by that
of others。 The well…disciplined mind acknowledges this authority； and
submits its own opinion to the public voice。
It is from knowing what are the general feelings and passions of
mankind that we acquire a true idea of what imagination is； though it
appears as if we had nothing to do but to consult our own particular
sensations； and these were sufficient to ensure us from all error and
mistake。
A knowledge of the disposition and character of the human mind can
be acquired only by experience： a great deal will be learned； I admit； by
a habit of examining what passes in our bosoms； what are our own
motives of action； and of what kind of sentiments we are conscious on any
occasion。 We may suppose a uniformity； and conclude that the same
effect will be produced by the same cause in the minds of others。 This
examination will contribute to suggest to us matters of inquiry； but we can
never be sure that our own sensations are true and right till they are
confirmed by more extensive observation。
One man opposing another determines nothing but a general union of
minds； like a general combination of the forces of all mankind； makes a
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strength that is irresistible。 In fact； as he who does not know himself
does not know others； so it may be said with equal truth； that he who does
not know others knows himself but very imperfectly。
A man who thinks he is guarding himself against Prejudices by
resisting the authority of others； leaves open every avenue to singularity；
vanity； self…conceit； obstinacy； and many other vices； all tending to warp
the judgment and prevent the natural operation of his faculties。
This submission to others is a deference which we owe； and indeed are
forced involuntarily to pay。
In fact we are never satisfied with our opinions till they are ratified and
confirmed by the suffrages of the rest of mankind。 We dispute and
wrangle for ever； we endeavour to get men to come to us when we do not
go to them。
He therefore who is acquainted with the works which have pleased
different ages and different countries； and has formed his opinion on them；
has more materials and more means of knowing what is analogous to the
mind of man than he who is conversant only with the works of his own
age or country。 What has pleased； and continues to please； is likely to
please again： hence are derived the rules of art； and on this immovable
foundation they must ever stand。
This search and study of the history of the mind ought not to be
confined to one art only。 It is by the analogy that one art bears to another
that many things are ascertained which either were but faintly seen； or；
perhaps； would not have been discovered at all if the inventor had not
received the first hints from the practices of a sister art on a similar
occasion。 The frequent allusions which every man who treats of any art
is obliged to draw from others in order to illustrate and confirm his
principles； sufficiently show their near connection and inseparable
relation。
All arts having the same general end； which is to please； and
addressing themselves to the same faculties through the medium of the
senses； it follows that their rules and principles must have as great affinit
