pression conceivable by his imagination, which does not exceed the apparent possibility of human experience. Apparent, because an ideal must necessarily be actually above the possibility of experience, but it may not appear to be so. For instance a Raphael Madonna does not seem to represent a supernatural woman. There is no single feature painted which cannot be matched in life, and hence it would not occur to the observer that the expression is contrary to the possibility of experience. But the expression cannot be met with in life, for besides being entirely general, it excludes all phases due to the emotions or passions. One cannot imagine a woman with the expression of a Raphael Madonna having concern with any special human interest, and least of all with feelings and failings arising from natural instincts. Yet the expression covers every form of noble endeavour; every phase of innocent pleasure; every degree of mental activity within the province of woman. And herein lies the art-the exclusion of the bad in our nature, with the exaltation of the good.

Now it is obvious that if the expression be so general that no particular quality can be identified therein, the countenance will serve for the head of any personage painted in whose expression it is desirable to indicate the possession of high attributes, without suggesting a particular condition of mind. Thus, the head of a Raphael Madonna would equally serve for the head of a Saint Cecilia or a Judith; or, providing the age were suitable, for a heroine of the stamp of Joan of Arc, so long as the character

of her actual features were unknown. Further it would be well adapted for a symbolical figure, as Prudence or Truth.

But a far wider significance than is thus indicated, is conveyed by the necessity for generalizing expression in order to reach the painter's ideal. It has already been noted that inasmuch as all men have the same general idea of beauty-that they generally agree as to what is, or is not, beautiful, it follows that there must be a common opinion as to degrees of beauty, and so a universality of ideal; that is of course, among people with similar experience of life, as for instance the white races of the world. 49 Hence the ideals of all painters must be similar. They must necessarily aim for the same generalization -exclude or emphasize like. Manner or style, or national type may vary; purely sensorial effects may differ as the minds of the painters have been variously trained, but the combination of features and effects which regulate the expression will be practically identical in every realized ideal. Consequently, subject to changes in attitude or age, ideal heads of all artists are interchangeable without incongruity resulting, irrespective of the motive of the design, for the ideal countenance indicated adapts itself to any character where no emotional or passionate expression is required. The head of the figure representing "Profane Love" in Titian's great picture, would serve to express spiritual nobility in a Madonna, and when a head in a Madonna by Raphael is exchanged with that of the central a See Plate 9.

a

a

figure in Fragonard's The Pursuit, there is no resulting suggestion of impropriety in either picture." Ideal countenances have sometimes been given to evil characters, as in Luini's Salome, and the head in this picture would equally well serve for a Madonna.d

с

An ideal head then will suggest any expression that the design in which it is included seems to require, subject to the restrictions before noted. In The Pursuit the face of the woman presumed to be fleeing from her lover indicates some concern, and even a little fear, but that this is due to the surroundings in the work, is shown when the head is substituted for another in a different picture, for the concern has disappeared, and the expression becomes one which may properly represent the highest attributes connected with the Madonna.

The limits within which the form and countenance of a woman may be idealized, are prescribed by Raphael in his works. The presumed age must be that when she reaches the full bloom of womanhood. Youth will not do because it involves an expression denying experience, while physically a girl cannot be supposed to have reached an age where her form has ceased to progress towards perfection. Beauty of feature and form is the first consideration of the artist, and hence his difficulty in fixing an expression which shall be entirely free from the possibility of suggesting desire. For this

a Frick Collection, New York.so

c Uffizi Gallery, Florence.

See Frontispiece and Plate 11.

b See Plate 8.

d See Plate 10.

reason no model, or series of models, will suffice the painter: he has always to bring his imagination to bear, as Raphael admitted he had to do."

It is impossible to find a head of a woman, painted before the time of Raphael, which fulfils the requirements of art as an ideal. The figures are either too formal, or too distinctive in type, or are evidently portraits, while in many of the greatest pictures of the fifteenth century the artists had not yet learned how to put warm blood into their Madonnas. Raphael, however, after taking up his sojourn at Florence, became an object lesson for nearly every school, and ideal countenances were produced by other masters, though no painter other than Raphael succeeded with more than one or two. Nowadays the ever increasing hustle in the struggle for existence, does not lend itself to deep study and long contemplation on the part of painters, but hope springs eternal, and surely the list of immortals is not yet closed.

An ideal man of flesh and blood is not possible in the art of the painter, for there is no general conception of male beauty below the level of the godlike. Perfection of form can be given, but a supreme expression in the face of a man implies deep wisdom, and this must necessarily be associated with maturity when high sensorial beauty of feature can scarcely be expected.

a "E di belle donne, io mi servo di certa idea che mi viene nella mente." Letter to Castiglione.

CHAPTER X

EXPRESSION.

PART V.-PORTRAITURE

Limitations of the portrait painter-Generalizations-Emphasis and addition of qualities-Practice of the ancient GreeksDignity-Importance of simplicity-Some of the great masters -Portraiture of women-The English masters-The quality of grace-The necessity of repose.

WHILE in the scale of the painter's art, portraiture ranks next to the higher branches of historical work, yet it is some distance behind them, for apart from the commonplace of scenic arrangement, the imagination of the portrait painter cannot be carried further than the consideration of added or eliminated details of form and expression in relation to a set subject. But these details are very difficult, and so it comes about that a good portrait involves a far greater proportion of mental labour than the result appears on the surface to warrant. It is indirectly consequent upon the complexity of his task that the work of the artist who devotes practically his whole time to portraiture, often varies so largely in quality. He paints some portraits which are generally appreciated, but as time goes on he is overwhelmed with orders which he cannot possibly fulfil without reducing the value of his work. He thus acquires a habit of throwing his