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III. Whether in formal or aerial chiaroscuro, it is optional with the student to make the local colour of objects a part of his shadow, or to consider the high lights of every colour as white. For instance, a chiaroscurist of Lionardo's school, drawing a leopard, would take no notice whatever of the spots, but only give the shadows which expressed the anatomy.
It has even been suggested that Vasari knew more about the disappearance of his predecessor's masterpiece than he has chosen to relate. Lionardo's Cartoon has also disappeared, and we know the Battle of Anghiari only by Edelinck's engraving from a drawing of Rubens, and by some doubtful sketches. The same fate was in store for Michelangelo's Cartoon.
I am not myself a salmon-fisher, though willing to try that art again, and though this is a tale of salmon. To myself the difference between angling for trout and angling for salmon is like the difference between a drawing of Lionardo's, in silver point, and a loaded landscape by MacGilp, R.A. Trout-fishing is all an idyll, all delicacy that is, trout-fishing on the Test or on the Itchen.
What can be done technically is what should be done theoretically, and what cannot be done with absolute and perfect technical success is out of the domain of art once and for ever. As the Greek did not try to carve marble eyelashes, so no Venetian tried to put his conscience on a panel. All Lionardo could see of Mona Lisa's soul he might paint, not all he could feel of Lionardo's. Mr.
Lionardo's battle-piece consisted of two groups on horseback engaged in a fierce struggle for a standard. Michelangelo determined to select a subject which should enable him to display all his power as the supreme draughtsman of the nude.
Among Lionardo's scientific drawings in the latter place may be mentioned a series of maps illustrating the river system of Central Italy, with plans for improved drainage. Shelley says of the poet:
Pater's reading of the Madonna's expression. It seems to me that Botticelli meant to portray the mingled awe and tranquillity of a mortal mother chosen for the Son of God. He appears to have sometimes aimed at conveying more than painting can compass; and, since he had not Lionardo's genius, he gives sadness, mournfulness, or discontent, for some more subtle mood.
Nor was he deficient in tragic power, as the tremendous study for a Lucrece in the Uffizzi collection sufficiently proves. In his drawings he models the form without outline by massive distribution of light and dark. In style they are the very opposite of Lionardo's clearly defined studies touched with the metal point upon prepared paper.
With respect to actual methods of practice, I will not incur the responsibility of determining them for you. We will take Lionardo's treatise on painting for our first text-book; and I think you need not fear being misled by me if I ask you to do only what Lionardo bids, or what will be necessary to enable you to do his bidding. But you need not possess the book, nor read it through.
The motive of his art was clearly apprehended, his method was sincere; certain phases of profound emotion had to be represented with the physical characteristics proper to them. The result, ugly and painful as it may sometimes be, was really more concordant with the spirit of Greek method than Lionardo's "John" or Correggio's "Magdalen."
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