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Updated: May 20, 2025
The portraits are at this stage less often intimate and soul-searching in their summing up of a human personality than they are official presentments of great personages and noble dames; showing them, no doubt, without false adulation or cheap idealisation, yet much as they desire to appear to their allies, their friends, and their subjects, sovereign in natural dignity and aristocratic grace, yet essentially in a moment of representation.
But the process of idealising him went on: still incomplete in Malory's compilation, where he is often rather otiose and far from royal. Tennyson, for his purpose, completed the idealisation. As to Guinevere, she was not idealised in the old Welsh rhyme "Guinevere, Giant Ogurvan's daughter, Naughty young, more naughty later."
It is hard to understand the minds of children unless we retain unusual plasticity and capacity to play; men and women do not really understand each other, what rules between them being not so much sympathy as habitual trust, idealisation, or satire; foreigners' minds are pure enigmas, and those attributed to animals are a grotesque compound of Æsop and physiology.
It must be observed that the formal and unpliable nature of the Roman cult made it quite unable to meet the requirements of advancing enlightenment. It was a superstition, not a religion; it admitted neither of allegoric interpretation nor of poetical idealisation. Hence there was no alternative but to believe or disbelieve it. There can be no doubt that all educated Romans did the latter.
There are glories in Turner's idealisation of the energies of matter, which are at least as nobly imaginative and elevated, in spite of the conspicuous absence of the human element in them, as the highest products of the artists who believed that their work was for the service and honour of a deity.
In the last page of his Memoirs, Pattison taxes the poet with being carried away by the aims of 'a party whose aims he idealised. As if the highest fruitfulness of intellect were ever reached without this generous faculty of idealisation, which Pattison, here and always, viewed with such icy coldness.
Sansovino himself was neither original nor powerful enough, to elevate the mixed motives of Renaissance sculpture by any lofty idealisation. To do that remained for Michael Angelo. The greatness of Michael Angelo consists in this that while literature was sinking into the frivolity of Academies and the filth of the Bernesque "Capitoli," while the barefaced villanies of Aretino won him credit, while sensual magnificence formed the ideal of artists who were neither Greeks nor Christians, while Ariosto found no subject fitter for his genius than a glittering romance, he and he alone maintained the Dantesque dignity of the Italian intellect in his sculpture. Michael Angelo stands so far apart from other men, and is so gigantic a force for good and evil in the history of art, that to estimate his life and labour in relation to the Renaissance must form the subject of a separate chapter. For the present it is enough to observe that his immediate scholars, Raffaello da Montelupo, and Gian Angelo Montorsoli, caught little from their master but the mannerism of contorted form and agitated action. This mannerism, a blemish even in the strong work of Buonarroti, became ridiculous when adopted by men of feeble powers and passionless imagination. By straining the art of sculpture to its utmost limits, Michael Angelo expressed vehement emotions in marble; and the forced attitudes affected in his work had their value as significant of spiritual struggle. His imitators showed none of their master's sublime force, none of that terribilit
If one tries to imagine what Athena, the War-Goddess worshipped by the Athenian mob, was like what a mixture of bad national passions, of superstition and statecraft, of slip-shod unimaginative idealisation one may partly understand why Euripides made her so evil.
And all these Essex people failed to satisfy him; they were silent, they were subtle, they slipped through the fat yet eager fingers of his heart, so that he fell back at last upon himself and his German correspondents and the idealisation of Maud Hickson and the moral education of Billy. Billy. Mr.
He gave a whispering cry, rather conspiratorial in tone. And as Jock offered no response, he hurried after Jock through the door to the right. This door led to a large apartment which struck Denry as being an idealisation of a first-class waiting-room at a highly important terminal station. In a wall to the left was a small door, half open. Jock must have gone through that door.
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