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apparently injurious, must be deemed irretrievable only in the last resort, and heaven forbid any admission that the American republic can be wrecked by any one or even two administrations. The truth here, as almost always, lies between extremes—between ultra-conservatives and pessimists on the one hand and ultra-progressives and optimists on the other. The former would put back the hands of the clock a hundred years—would have us live and act as if the conditions of the Washington and Marshall era were still about us—in effect would have us tear up the railroad and sink the steamship and return the lightning to the heavens whence Franklin brought it down. The latter would have us believe that, to act well our part on the world-wide stage which alone limits the activities of modern civilized states, we must ape the fashionable international follies and vices of the period even to the point of warring upon, subjugating, and exploiting for trade purposes 8,000,000 of alien peoples in the Pacific seas, 7,000 miles from our own shores. Between these extremes lies the path of honor, of morality, of safety and of patriotism, and, notwithstanding present aberrations, the American people may be absolutely trusted sooner or later to find it and to walk in it. They will certainly not forget that this is the dawn of the Twentieth, not of the Nineteenth century. They will just as certainly determine that to be in touch with the best thought and temper of the time, to be the most truly progressive of all peoples, to do every duty and fulfil every function required by its high place in the world—they will certainly determine that to do and to be all this-neither means that the American nation must imitate the most questionable practices of other states nor requires any abandonment of American principles or American ideals. To believe or to hold otherwise is to despair of the Republic, and to despair of the Republic is to lose faith in humanity and in the future of the race.

The incalculable debt of the country to the two great Virginians, impossible of repayment, can never be too often or too emphatically recognized by the entire body of the American people. Upon the bar, however, devolves an especial duty, namely, to see to it that the merits of its incomparable chief are not obscured by the showier

deeds of warriors and statesmen. The observance of this day, therefore, by the lawyers of the country generally is eminently appropriate, while we in this corner of the land are exceptionally favored in that Virginia has lent us for our celebration one of the foremost of her lawyers and citizens [Henry St. George Tucker). In recognition of the honor of his presence and in appreciation of the immense services of his native State to the cause of a stable and coherent nationality, I propose that the company rise and drink to the ever-increasing prosperity of the Commonwealth of Virginia and to the good health and long life of her distinguished representative on this occasion.

1

WALTER PATER

RAPHAEL

(Address of Walter Pater, critic of art and literature (oorn in London, 1839; died in Oxford, July 30, 1894), delivered at Oxford, August 2, 1892, before the University Extension students.)

By his immense productiveness, by the even perfection of what he produced, its fitness to its own day, its hold on posterity, in the suavity of his life, some would add in the

opportunity” of his early death, Raphael may seem a signal instance of the luckiness, of the good fortune, of genius. Yet, if we follow the actual growth of his powers, within their proper framework, the age of the Renaissance .-an age of which we may say, summarily, that it enjoyed itself, and found perhaps its chief enjoyment in the attitude of the scholar, in the enthusiastic acquisition of knowledge for its own sake:-if we thus view Raphael and his works in their environment we shall find even his seemingly mechanical good fortune hardly distinguishable from his own patient disposal of the means at hand. Facile master as he may seem, as indeed he is, he is also one of the world's typical scholars, with Plato, and Cicero, and Virgil, and Milton. The formula of his genius, if we must have one, is this: genius by accumulation; the transformation of meek scholarship into genius—triumphant power of genius.

Urbino, where this prince of the Renaissance was born in 1483, year also of the birth of Luther, leader of the other great movement of that age, the ReformationUrbino, under its dukes of the house of Montefeltro, had wherewithal just then to make a boy of native artistic faculty from the first a willing learner. The gloomy old

fortress of the feudal masters of the town had been replaced, in those later years of the Quattro-cento, by a consummate monument of Quattro-cento taste, a museum of ancient and modern art, the owners of which lived there, gallantly at home, amid the choicer flowers of living humanity. The ducal palace was, in fact, become nothing less than a school of ambitious youth in all the accomplishments alike of war and peace. Raphael's connection with it seems to have become intimate, and from the first its influence must have overflowed so small a place. In the case of the lucky Raphael, for once, the actual conditions of early life had been suitable, propitious, accordant to what one's imagination would have required for the childhood of the man. He was born amid the art he was, not to transform, but to perfect, by a thousand reverential retouchings. In no palace, however, but in a modest abode, still shown, containing the workshop of his father, Giovanni Santi. But here, too, though in frugal form, art, the arts, were present. A store of artistic objects was, or had recently been, made there, and now especially, for fitting patrons, religious pictures in the old Umbrian manner. In quiet nooks of the Apennines Giovanni's works remain; and there is one of them, worth study, in spite of what critics say of its crudity, in the National Gallery. Concede its immaturity, at least, though an immaturity visibly susceptible of a delicate grace, it wins you nevertheless to return again and again, and ponder, by a sincere expression of sorrow, profound, yet resigned, be the cause what it may, among all the many causes of sorrow inherent in the ideal of maternity, human or divine. keep in mind when looking at it the facts of Raphael's childhood, you will recognize in his father's picture, not the anticipated sorrow of the “Mater Dolorosa" over the dead son, but the grief of a simple household over the mother herself taken early from it. That may have been the first picture the eyes of the world's great painter of Madonnas rested on; and if he stood diligently before it to copy, and so copying, quite unconsciously, and with no disloyalty to his original, refined, improved, substitutedsubstituted himself, in fact, his finer self, he had already struck the persistent note of his career.

As with his age, it is his vocation, ardent worker as he is, to enjoy himself

But if you

-to enjoy himself amiably, and to find his chief enjoyment in the attitude of a scholar. And one by one, one after another, his masters, the very greatest of them, go to school to him.

It was so especially with the artist of whom Raphael first became certainly a learner-Perugino. Giovanni Santi had died in Raphael's childhood, too early to have been in any direct sense his teacher. The lad, however, from one and another, had learned much, when, with his share of the patrimony in hand, enough to keep him, but not tempt him from scholarly ways, he came to Perugia, hoping still further to improve himself. He was in his eighteenth year, and how he looked just then you may see in a drawing of his own in the University galleries, of somewhat stronger mold than less genuine likenesses might lead you to expect. There is something of a fighter in the way in which the nose springs from the brow between the wide-set, meditative eyes. A strenuous lad! capable of plodding, if you dare apply that word to labor so impassioned as his—to any labor whatever done at Perugia, center of the dreamiest Apennine scenery. Its various elements (one hardly knows whether one is thinking of Italian nature or of Raphael's art in recounting them), the richly-planted lowlands, the sensitive mountain lines in flight one beyond the other into clear distance, the cool yet glowing atmosphere, the romantic morsels of architecture, which lend to the entire scene I know not what expression of reposeful antiquity, arrange themselves here as for set purpose of pictorial effect, and have gone with little change into his painted backgrounds. In the midst of it, on titanic old Roman and Etruscan foundations, the later Gothic town had piled itself along the lines of a gigantic land of rock, stretched out from the last slope of the Apennines into the plain. Between its fingers steep dark lanes wind down into the olive-gardens; on the finger-tips military and monastic builders had perched their towns. A place as fantastic in its attractiveness as the human life which then surged up and down in it in contrast to the peaceful scene around. The Baglioni who ruled there had brought certain tendencies of that age to a typical completeness of expression, veiling crime-crime, it might seem, for its own sake, a whole octave of fantastic

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