Great Pictures, As Seen and Described by Famous Writers | Page 5

invention about the fire taking hold on the up-turned soles of the feet, which proves that the design is no mere translation of Dante's words, but a true painter's vision; while the scene of the Centaurs wins one at once, for, forgetful of the actual circumstances of their appearance, Botticelli has gone off with delight on the thought of the Centaurs themselves, bright small creatures of the woodland, with arch baby faces and mignon forms, drawing tiny bows.
Botticelli lived in a generation of naturalists, and he might have been a mere naturalist among them. There are traces enough in his work of that alert sense of outward things which, in the pictures of that period, fills the lawns with delicate living creatures, and the hill-sides with pools of water, and the pools of water with flowering reeds. But this was not enough for him; he is a visionary painter, and in his visionariness he resembles Dante. Giotto, the tried companion of Dante, Masaccio, Ghirlandaio even, do but transcribe with more or less refining the outward image; they are dramatic, not visionary painters; they are almost impassive spectators of the action before them. But the genius of which Botticelli is the type usurps the data before it as the exponents of ideas, moods, visions of its own; with this interest it plays fast and loose with those data, rejecting some and isolating others, and always combining them anew. To him, as to Dante, the scene, the colour, the outward image or gesture, comes with all its incisive and importunate reality; but awakes in him, moreover, by some subtle structure of his own, a mood which it awakes in no one else, of which it is the double or repetition, and which it clothes, that all may share it, with sensuous circumstances.
But he is far enough from accepting the conventional orthodoxy of Dante which, referring all human action to the easy formula of purgatory, heaven, and hell, leaves an insoluble element of prose in the depths of Dante's poetry. One picture of his, with the portrait of the donor, Matteo Palmieri, below, had the credit or discredit of attracting some shadow of ecclesiastical censure. This Matteo Palmieri--two dim figures move under that name in contemporary history--was the reputed author of a poem, still unedited, _La Città Divina_, which represented the human race as an incarnation of those angels who, in the revolt of Lucifer, were neither for God nor for his enemies, a fantasy of that earlier Alexandrian philosophy, about which the Florentine intellect in that century was so curious. Botticelli's picture may have been only one of those familiar compositions in which religious reverie has recorded its impressions of the various forms of beatified existence--Glorias, as they were called, like that in which Giotto painted the portrait of Dante; but somehow it was suspected of embodying in a picture the wayward dream of Palmieri, and the chapel where it hung was closed. Artists so entire as Botticelli are usually careless about philosophical theories, even when the philosopher is a Florentine of the Fifteenth Century, and his work a poem in terza rima. But Botticelli, who wrote a commentary on Dante and became the disciple of Savonarola, may well have let such theories come and go across him. True or false, the story interprets much of the peculiar sentiment with which he infuses his profane and sacred persons, comely, and in a certain sense like angels, but with a sense of displacement or loss about them--the wistfulness of exiles conscious of a passion and energy greater than any known issue of them explains, which runs through all his varied work with a sentiment of ineffable melancholy.
So just what Dante scorns as unworthy alike of heaven and hell, Botticelli accepts, that middle world in which men take no side in great conflicts, and decide no great causes, and make great refusals. He thus sets for himself the limits within which art, undisturbed by any moral ambition, does its most sincere and surest work. His interest is neither in the untempered goodness of Angelico's saints, nor the untempered evil of Orcagna's _Inferno_; but with men and women in their mixed and uncertain condition, always attractive, clothed sometimes by passion with a character of loveliness and energy, but saddened perpetually by the shadow upon them of the great things from which they shrink. His morality is all sympathy; and it is this sympathy, conveying into his work somewhat more than is usual of the true complexion of humanity, which makes him, visionary as he is, so forcible a realist.
It is this which gives to his Madonnas their unique expression and charm. He has worked out in them a distinct and peculiar type, definite enough in his own mind, for he has painted it over and