THE IMPORTANCE OF DOCILITY
I
I now intend to re-arrange what seem the most interesting of the
sentences on the theory of art which are found in Dürer's MSS. and books
on proportion. He did not give them the final form or order which he
intended, and it seems to me that to arrange the more important
according to the subjects they treat of will be the simplest way of
arriving at general conceptions as to their tendency and value. We shall
thus bring together repetitions of the same thought and contradictory
answers to the same question; and after each series of sentences, I
myself shall discuss the points raised, illustrating my remarks from
modern writers whose opinion in these matters seems to me deserving of
most attention. I have heard it said by the late Mr. Arthur Strong that
Dürer's art is always didactic; and Dürer as a writer on art certainly
has ever before his mind this one object, to teach others, or, as I
should prefer to phrase it, to help others to learn. For he himself is
continually confessing that he cannot yet answer his own questions, and
it seems to me that the best teacher is always he who most desires to
increase his knowledge, not indeed to hoard it as some do and make of
it a personal possession; intellectual misers, for ever gnashing their
teeth over the reputations or the pretensions of others. No, but one who
desires knowledge for its own sake and welcomes it in others with as
much satisfaction as he gains it for himself. Docility, i.e.,
teachableness, let me point out once more, seems to be the necessary
midwife of genius, without the aid of which it often labours in vain, or
brings forth strange incongruous and misshapen births.
Sad is the condition of a brilliant and fiery spirit shut up in a man's
brain without the humble assistance of this lively, meek and patient
virtue! What unrelieved and insupportable throes of agony must be borne
by such a spirit, and how often does such labour end in misanthropy or
madness! The records of the lives of exceptionally-gifted men tell us
only too clearly what pains those are, and how frequently they have been
borne. So I fancy I cannot do better than choose out for my first
section sentences which praise or advocate the effort to learn, or
attempt to enlighten those who make such an effort on the choice of
teachers and disciplines.
II
I shall not hesitate to transpose sentences even when they appear in
connected passages, in order, as I hope, to bring out more clearly their
connection. For Dürer was not a writer by profession, and his thoughts
were often more abundant than he knew how to deal with.
Before starting, however, I must prefix to my quotations some account of
the four MS. books in the British Museum from which they are principally
taken. Rough drafts in Pirkheimer's handwriting were found among them,
but of Dürer's work Sir Martin Conway tells us:
The volumes contain upwards of seven hundred leaves and scraps of paper
of various kinds, covered at different dates with more or less elaborate
outline drawings, and more or less corrected drafts for works published
or planned by Dürer. Interspersed among them are geometrical and
other sketches.
He was in the habit of correcting and re-copying, again and again, what
he had written. Sometimes he would jot down a sentence alongside of
matter to which it had no relation. This sentence he would afterwards
introduce in its right connection. There are in these volumes no less
than four drafts of the beginning of a Dedication to Pirkheimer of the
Books of Human Proportions. Two other drafts of this same dedication are
among the Dresden MSS. The opening sentences of the Introduction to the
same work were likewise, as will be seen, the subject of
frequent revision.
These drafts, notes and sketches date from 1508 to 1523. Some collector
had had them cut out, gummed together, and bound without the slightest
regard to order, or even to the sequence of consecutive passages. In
January 1890 the volumes were taken to pieces and rearranged by Miss
Lina Eckenstein, who had previously made the admirable translations of
them for Sir Martin Conway's "Literary Remains of Albrecht Dürer," from
which my quotations are taken.
The contents of the volumes as rearranged may be roughly described as
follows:
Volume 1. Drawings of whole figures and portions of the body,
illustrating Dürer's theories of Proportion. Drawings of a solid
octogon. Six coloured drawings of crystals. The description of the
Ionic order of architecture. Drawings of columns with measurements. A
scale for Human Proportions. A table of contents for a work on Geometry.
Notes on perspective, curves, folds, &c. The different kinds of temple
after Vitruvius. Mathematical diagrams, &c.
Volume II. Draft of a dedicatory letter to King Ferdinand (see page
180). Drafts and drawings for "The Art of Fortification." Drawing of a
shield with a rearing horse. Mantles of Netherlandish women and nuns. A
Latin inscription for his own portrait. Notes on "Proportion," and on
the feast of the Rosenkranz. Scale for Human Proportions. An alphabet.
Draft of a dedication for the books on Proportion. Sketch of a skeleton.
Studies of architecture. Venetian houses and roofs. Sketches of a
church, a house, a tower, a drapery, &c.
Volume III. Drafts of a projected work on Painting and on the study of
Proportion. Drafts for the dedication, the preface, and for a work on
Esthetics. Drawings of a male body, a female body, and a piece of
drapery. Notes and drawings for the proportions of heads, hands, feet,
outline curves, a child, a woman, &c.
Volume IV. Proportions of a man, a fat woman, the head of the average
woman, the young woman, &c. Short Profession of Faith (see page 130).
Scale for Human Proportions, &c. Fragments of the Preface of Essay on
Aesthetics, &c. Grimacing and distorted faces. Use of measurements. On
the characters of faces, thick, thin, broad, narrow, &c. Sketches of a
dragon and of an angel for Maximilian's Triumphal Procession. List of
Luther's works (see page 130). Drawings of human bodies proportioned
to squares.
[Illustration: "UNA VILANA WENDISCH" Pen drawing with wash background
in the collection of Mrs. Seymour _face_ p. 304]
See the description in "Dürer's Schriftlicher Nachlass" (Lange und
Fuhse), page 263, from which the above abstract is made.
Sir Martin Conway continues:
In these volumes Dürer is seen, sometimes writing under the influence of
impetuous impulse, sometimes with leisurely care, allowing his pen to
embroider the script with graceful marginal flourishes.
At what period of his career Dürer first conceived the idea of writing a
comprehensive work upon the theory and practice of art is unknown. It
was certainly before the year 1512. The following list of chapters may
perhaps be an early sketch of the plan.
Ten things are contained in the little book.
The first, the proportions of a young child.
The second, proportions of a grown man.
The third, proportions of a woman.
The fourth, proportions of a horse.
The fifth, something about architecture.
The sixth, about an apparatus through which it can be
shown that 'all things may be traced.
The seventh, about light and shade.
The eighth, about colours, how to paint like nature.
The ninth, about the ordering (composition) of the
picture.
The tenth, about free painting, which alone is made by
Imagination without any other help.
III
Glad enough should we be to attain unto great knowledge without toil,
for nature has implanted in us the desire of knowing all things,
thereby to discern a truth of all things. But our dull wit cannot come
unto such perfectness of all art, truth, and wisdom. Yet are we not,
therefore, shut out altogether from all arts. If we want to sharpen our
reason by learning and to practise ourselves therein, having once found
the right path we may, step by step, seek, learn, comprehend, and
finally reach and attain unto something true. Wherefore, he that
understandeth how to learn somewhat in his leisure time, whereby he may
most certainly be enabled to honour God, and to do what is useful both
for himself and others, that man doeth well; and we know that in this
wise he will gain much experience in art and will be able to make known
its truth for our good. It is right, therefore, for one man to teach
another. He that joyfully doeth so, upon him shall much be bestowed by
God, from whom we receive all things. He hath highest praise.
One finds some who know nothing and learn nothing. They despise
learning, and say that much evil cometh of the arts, and that some are
wholly vile. I, on the contrary, hold that no art is evil, but that all
are good. A sword is a sword which may be used either for murder or for
justice. Similarly the arts are in themselves good. What God hath
formed, that is good, misuse it how ye will.
Thou findest arts of all kinds; choose then for thyself that which is
like to be of greatest service to thee. Learn it; let not the difficulty
thereof vex thee till thou hast accomplished somewhat wherewith thou
mayest be satisfied.
It is very necessary for a man to know some one thing by reason of the
usefulness which ariseth therefrom. Wherefore we should all gladly
learn, for the more we know so much the more do we resemble the likeness
of God, who verily knoweth all things.
The more, therefore, a man learneth, so much the better doth he become,
and so much the more love doth he win for the arts and for things
exalted. Wherefore a man ought not to play the wanton, but should learn
in season.
Is the artistic man pious and by nature good? He escheweth the evil and
chooseth the good; and hereunto serve the arts, for they give the
discernment of good and evil.
Some may learn somewhat of all arts, but that is not given to every man.
Nevertheless, there is no rational man so dull but that he may learn the
one thing towards which his fancy draweth him most strongly. Hence no
man is excused from learning something.
Let no man put too much confidence in himself, for many (pairs of eyes)
see better than one. Though it is possible for a man to comprehend more
than a thousand (men), still that cometh but rarely to pass.
Many fall into error because they follow their own taste alone;
therefore let each look to it that his inclination blind not his
judgment. For every mother is well pleased with her own child, and thus
also it ariseth that many painters paint figures resembling themselves.
He that worketh in ignorance worketh more painfully than he that worketh
with understanding; therefore let all learn to understand aright.
Now I know that in our German nation, at the present time, are many
painters who stand in need of instruction, for they lack all real art,
yet they nevertheless have many large works to do. Forasmuch then as
they are so numerous, it is very needful for them to learn to better
their work.
Willingly will I impart my teaching, hereafter written, to the man who
knoweth little and would gladly learn; but I will not be cumbered with
the proud, who, according to their own estimate of themselves, know all
things, and are best, and despise all else. From true artists, however,
such as can show their meaning with the hand, I desire to learn humbly
and with much thankfulness.
A thing thou beholdest is easier of belief than that thou hearest, but
whatever is both heard and seen we grasp more firmly and lay hold on
more securely. I will therefore do the work in both ways, that thus I
may be better understood.
Whosoever will, therefore, let him hear and see what I say, do, and
teach, for I hope it may be of service and not for a hindrance to the
better arts, nor lead thee to neglect better things.
I hear moreover of no writer in modern times by whom aught hath been
written and made known which I might read for my improvement. For some
hide their art in great secrecy, and others write about things whereof
they know nothing, so that their words are nowise better than mere
noise, as he that knoweth somewhat is swift to discover. I therefore
will write down with God's help the little that I know. Though many will
scorn it I am not troubled, for I well know that it is easier to cast
blame on a thing than to make anything better. Moreover, I will expound
my meaning as clearly and plainly as I can; and, were it possible, I
would gladly give everything I know to the light, for the good of
cunning students who prize such art more highly than silver or gold. I
further admonish all who have any knowledge in these matters that they
write it down. Do it truly and plainly, not toilsomely and at great
length, for the sake of those who seek and are glad to learn, to the
great honour of God and your own praise. If I then set something burning
and ye all add to it with skilful furthering, a blaze may in time arise
therefrom which shall shine throughout the whole world.
I shall here apply to what is to be called beautiful the same
touchstone as that by which we decide what is right. For as what all the
world prizeth as right we hold to be right, so what all the world
esteemeth beautiful that will we also hold for beautiful, and ourselves
strive to produce the like.
No one need blindly follow this theory of mine as though it were quite
perfect, for human nature has not yet so far degenerated that another
man cannot discover something better. So each may use my teaching as
long as it seems good to him, or until he finds something better. Where
he is not willing to accept it, he may well hold that this doctrine is
not written for him, but for others who are willing.
That must be a strangely dull head which never trusts itself to find out
anything fresh, but only travels along the old path, simply following
others and not daring to reflect for itself. For it beseems each
understanding, in following another, not to despair of itself
discovering something better. If that is done, there remaineth no doubt
but that in time this art will again reach the perfection it attained
amongst the ancients.
Much will hereafter be written about subjects and refinements of
painting. Sure am I that many notable men will arise, all of whom will
write both well and better about this art, and will teach it better than
I; for I myself hold my art at a very mean value, for I know what my
faults are. Let every man therefore strive to better these my errors
according to his powers. Would to God it were possible for me to see the
work and art of the mighty masters to come, who are yet unborn, for I
know that I might be improved upon. Ah! how often in my sleep do I
behold great works of art and beautiful things, the like whereof never
appear to me awake, but so soon as I awake, even the remembrance of
them leaveth me.
Compare also the passages already quoted,(pp. 15,16,26).
IV
"What an admirable temper!" is the exclamation which expresses our first
feeling on reading the foregoing sentences. It renews the spirit of a
man merely to peruse such things. Scales fall from our eyes, and we see
what we most essentially are, with pleasure, as good children gleefully
recognise their goodness: and at the same time we are filled with
contrition that we should have ever forgotten it. And this that we most
essentially are rational beings, lovers of goodness, children of
hope,--how directly Dürer appeals to it: "Nature has implanted in us the
desire of knowing all things." It reminds one of Ben Jonson's:--
It is a false quarrel against nature, that she helps understanding but
in a few, when the most part of mankind are inclined by her thither, if
they would take the pains; no less than birds to fly, horses to run,
&c., which, if they lose it, is through their own sluggishness, and by
that means they become her prodigies, not her children.
There is something refreshing and inspiriting in the mere conviction of
our teachableness; and when the same author, referring to Plato's
travels in search of knowledge, says, "He laboured, so must we," we do
not find the comparison humiliating either to Plato or ourselves. For
"without a way there is no going," and every man of superior mould says
to us with more or less of benignity, "I am the way: follow me." Such
means or ways of attainment have been followed by all whose success is
known to us, and are followed now by all "finely touched and gifted
men." I might quote in illustration of these assertions the whole of
Reynolds' Sixth Discourse, so marvellous for its acute and delicate
discrimination; but I will content myself with a few leading passages:
We cannot suppose that any one can really mean to exclude all imitation
of others.
It is a common observation that no art was ever invented and carried to
perfection at the same time.
The greatest natural genius cannot subsist on its own stock: he who
resolves never to ransack any mind but his own will soon be reduced to
the poorest of all imitations, he will be obliged to imitate himself,
and to repeat what he has often before repeated.
The truth is, he whose feebleness is such as to make other men's
thoughts an encumbrance to him, can have no very great strength of mind
or genius of his own to be destroyed: so that not much harm will be done
at the worst.
Of course, this last phrase will not apply universally; we must remember
that the man who sets out to become an artist, or claims to be one by
native gift, has made apparent that he is the possessor of no mean
ambition. The humblest may see a way of improvement in their betters,
and obey the command, "Follow me." Every man is not called to follow
great artists, but only those who are peculiarly fitted to tread the
difficult paths that climb Olympus-hill. Yet to all men alike the great
artist in life, he who wedded failure to divinity, says, "Learn of me
that I am meek and lowly of heart, and ye shall find rest to
your souls."
He who confines himself to the imitation of an individual, as he never
proposes to surpass, so he is not likely to equal, the object of his
imitation. He professes only to follow; and he that follows must
necessarily be behind.
It is of course impossible to surpass perfection, but it is possible to
be made one with it.
To find excellences, however dispersed, to discover beauties, however
concealed by the multitude of defects with which they are surrounded,
can be the work only of him who, having a mind always alive to his art,
has extended his views to all ages and to all schools; and has acquired
from that comprehensive mass which he has thus gathered to himself a
well-digested and perfect idea of his art, to which everything is
referred. Like a sovereign judge and arbiter of art, he is possessed of
that presiding power which separates and attracts every excellence from
every school; selects both from what is great and what is little; brings
home knowledge from the east and from the west; making the universe
tributary towards furnishing his mind, and enriching his works with
originality and variety of inventions.
In this tine passage we get back to our central idea in regard to the
sense of proportion "making the universe tributary towards furnishing
his mind"; while in the "discovery of beauties" the complete artist
"selects both from what is great and what is little," from the clouds of
heaven and from the dunghills of the farmyard.
Study, therefore, the great works of the great masters for ever. Study,
as nearly as you can, in the order, in the manner, and on the principles
on which they studied. Study nature attentively, but always with those
masters in your company; consider them as models which you are to
imitate, and at the same time as rivals with whom you are to contend.
For "no man can be an artist, whatever he may suppose, upon any
other terms."
Yes, an artist is a child who chooses his parents, nor is he limited to
only two. Religion tells all men they have a Father, who is God;
philosophy and tradition repeat, "man has a mother, who is Nature."
These sayings are platitudes; their application is so obvious that it is
now generally forgotten. If God is a Father, it is the soul that chooses
Him; if Nature is a mother, it is the man who chooses to regard her as
such, since to the greater number it is well known she seems but a
stepmother, and a cruel one at that. Elective affinities, chosen
kindred!--"tell me what company you keep, and I will tell you who you
are" (what you are worth). How many artist waifs one sees nowadays! lost
souls, who choose to be nobody's children, and think they can teach
themselves all they need to know.
I think the very striking agreement between artists so totally different
in every respect except eminence, docility and anxiety to further art,
as Dürer and Reynolds, ought to impress our minds very deeply: even
though, as is certainly the case, the way they point out has been very
greatly abandoned of late years, and public institutions in this and
other countries proceed to further art on quite other lines; even though
critics are almost unanimous in knowing better both the end and the way
than the great masters who had not the advantage of a dash of science in
their hydromel to make it sparkle, but instead made it yet richer and
thicker by stirring up with it piety and religion. I think this
"cock-tail and sherry-cobbler" art criticism of to-day is very
deleterious to the digestion, and that the piety and enthusiasm which
Dürer and Reynolds worked into their art were more wholesome, and better
supplied the needs and deficiencies of artistic temperaments.