Kitabı oku: «The Memoirs of Count Carlo Gozzi; Volume the Second», sayfa 18

III

It is singular that Longhi should have reached the age of thirty-two without discovering his real vocation. The absence of brain-force in the conception, of strength in the design, and of any effective adaptation to architecture, which damns the Sagredo frescoes, is enough to prove that he was here engaged on work for which he had no faculty and felt no sympathy.

What revealed to him the true bias of his talent? Did he perchance, just about this period, come across some prints from Hogarth? That is very possible. But the records of his life are so hopelessly meagre that it were useless to indulge in conjecture.

I am not aware whether he had already essayed any of those domestic pieces and delineative scenes from social life which displayed his genuine artistic power, and for the sake of which his name will always be appreciated. He is said to have been of a gay, capricious temperament, delighting in the superficial aspects of aristocratic society, savouring the humours of the common folk with no less pleasure, and enjoying all phases of that easy-going Carnival gaiety in which the various classes met and mingled at Venice. These inclinations directed him at last into the right path. For some forty years he continued to paint a series of easel-pictures, none of them very large, some of them quite small, in which the Vanity Fair of Venice at his epoch was represented with fidelity and kindly feeling.

The panels attributed to Pietro Longhi are innumerable. They may be found scattered through public galleries and private collections, adorning the walls of patrician palaces, or thrust away in corners of country-houses. He worked carefully, polished the surface of his pictures to the finish of a miniature, set them in frames of a fixed pattern, and covered them with glass. These genre-pictures, while presenting notes of similarity, differ very considerably in their technical handling and their scheme of colour. Our first inference, after inspecting a miscellaneous selection, is that Longhi must have started a school of imitators. Indeed this is probably the case; and it is certain that some pieces ascribed to his brush are the production of his son Alessandro, who was born in 1733. Yet closer study of authentic paintings by Pietro's hand compels the critic to be cautious before he rejects, on internal evidence of style, a single piece assigned by good tradition to this artist. The Museo Civico at Venice, for example, contains a large number of Longhis, some of which seem to fall below his usual standard. I have, however, discovered elaborate drawings for these doubtful pictures in the book of his original sketches, which is also preserved there. Longhi must therefore have painted the pictures himself, or must have left the execution of his designs to a pupil. Again, the style of his two masterpieces (the Sala del Ridotto and the Parlatorio d'un Convento, both in the Museo Civico) differs in important particulars from that of the elaborately finished little panels by which he is most widely known. These fine compositions are marked by a freer breadth of handling, a sketchy boldness, a combined richness and subtlety of colouring, and an animation of figures in movement, which are not common in the average of his genre-pieces. When I come to speak of the family portrait of the Pisani, signed by his name, I shall have to point out that the style of execution, the scheme of colour, and the pictorial feeling of this large composition belong to a manner dissimilar from either of those which I have already indicated as belonging to authentic Longhis.

IV

It has been well observed by a Venetian writer, whose meagre panegyric is nearly all we have in print upon the subject of this painter's biography, that "there is no scene or point of domestic life which Longhi has not treated many times and in divers ways. All those episodes which make up the Day of a Gentleman as sung at a later date by Parini, had been already set forth by the brush of Longhi."⁹³

The duties of the toilette, over which ladies and young men of fashion dawdled through their mornings; the drinking of chocolate in bed, attended by a wife or mistress or obsequious man of business; the long hours spent before the looking-glass, with maids or valets matching complexions, sorting dresses from the wardrobe, and fixing patches upon telling points of cheek or forehead; the fashionable hairdresser, building up a lady's tower with tongs, or tying the knot of a beau's bag-wig; the children trooping in to kiss their mother's hand at breakfast-time – stiff little girls in hoops, and tiny cavalieri in uniform, with sword and shoe-buckles and queue; the vendors of flowered silks and laces laying out their wares; the pert young laundress smuggling a billet-doux into a beauty's hand before her unsuspecting husband's face; the fine gentleman ordering a waistcoat in the shop of a tailoress, ogling and flirting over the commission, while a running footman with tall cane in hand comes bustling in to ask if his lord's suit is ready; the old patrician lolling in his easy-chair and toying with a fan; the abbé turning over the leaves of some fresh play or morning paper: scenes like these we may assign to the Venetian forenoon.

Afternoon brings ceremonious visits, when grand ladies, sailing in their hoops, salute each other, and beaux make legs on entering a drawing-room, and lacqueys hand round chocolate on silver salvers. Dancing-lessons may perhaps be assigned to this part of the day; a spruce French professor teaching his fair pupil how to drop a curtsey, or to swim with solemn grace through the figures of the minuet. At night we are introduced to the hall of the Ridotto; patricians in toga and snow-white periwig hold banks for faro beneath the glittering chandeliers; men and women, closely masked, jostle each other at the gambling-tables, where sequins and ducats lie about in heaps. The petty houses, or casini, now engage attention. Here may be seen a pair of stealthy, muffled libertines hastening to complete an assignation. Then there are meetings at street-corners or on the landing-places of traghetti– mysterious figures flitting to and fro in wide miraculous bautte beneath the light of flickering flambeaux. Both men and women in these nocturnal scenes wear muffs, trimmed with fur, and secured around their waist by girdles.

Theatres, masked balls, banquets and coffee-houses, music-parties in villa-gardens, the assemblies of literary coteries, promenades on the piazza, and Carnival processions, obtain their due share of attention from this vigilant observer. But, as is the way with Longhi, only episodes are treated. He does not, like some painters of our own time – like Mr. Frith, R.A., for instance – attempt to bring the accumulated details of a complex scene before us. He leaves the context of his chosen incident to be divined.

The traffic of the open streets – quack-doctors on their platforms with a crowd of gaping dupes around them, mountebanks performing tricks, the criers of stewed plums and sausages, fortune-tellers, itinerant musicians, improvisatory poets bawling out their octave stanzas, cloaked serenaders twangling mandolines – such motives may be found in fair abundance among Longhi's genre-pieces. Nor does he altogether neglect the country. Many of his pictures are devoted to hunting-parties, riding-lessons, shooting and fishing, all the amusements of the Venetian villeggiatura. Peasants lounging over their wine or pottage at a rustic table are depicted with no less felicity than the beau and coquette in their glory. The grimy interior of a village-tavern is portrayed with the same gusto as a fine lady's gilt saloon.

V

Longhi used to tell Goldoni that they – the painter and the playwright – were brethren in Art; and one of the poet's sonnets records this saying: —

 
"Longhi, tu che la mia Musa sorella
Chiami del tuo pennel che cerca il vero."
 

It seems that their contemporaries were alive to the similar qualities and the common aims of the two men; for Gasparo Gozzi drew a parallel between them in a number of his Venetian Gazzetta. Indeed the resemblance is more than merely superficial. Longhi surveyed human life with the same kindly glance and the same absence of gravity or depth of intuition as Goldoni. They both studied Nature, but Nature only in her genial moods. They both sincerely aimed at truth, but avoided truths which were sinister or painful.

This renders the designation of Venetian Hogarth peculiarly inappropriate to Longhi. There is neither tragedy nor satire, and only a thin silvery vein of humour, in his work. Indeed it may be questioned whether he was in any exact sense humorous at all. What looks like humour in some of his pictures is probably unconscious. In like manner he lacked pathos, and never strove to moralise the themes he treated. Where would Hogarth be if we excluded Gargantuan humour, Juvenalian satire, stern morality, and cruel pathos from his scenes of social life? Longhi is never gross and never passionate. With a kind of sensitive French curiosity, he likes to graze the darker and the coarser side of life, and pass it by. He does not want to probe the cancers of the human breast, or to lay bare the festering sores of vice. What would become of Hogarth if he were deprived of his grim surgical anatomy? Neither in the heights nor in the depths was Longhi at home – neither in the region of Olympian poetry nor in the purgatory of man's sin and folly. He sailed delightfully, agreeably, across the middle waters of the world, where steering is not difficult.

In all this Goldoni resembles him, except only that Goldoni had a rich vein of cheerful humour. It would be therefore more just to call Longhi the Goldoni of painting than the Venetian Hogarth.

Longhi's portrait, unlike that of Goldoni, betrays no sensuousness. He seems to have had a long, refined face, with bright, benignant black eyes, a pleasantly smiling mouth, thin lips, and a look of gently subrisive appreciation rather than of irony or sarcasm. The engraving by which I know his features suggests an intelligent, attenuated Addison – not a powerful or first-rate man, but a genially observant superior mediocrity.

Although Longhi, as a personality, is clearly not of the same type as Hogarth, there are certain points of similarity between the men as artists. Both were taught the goldsmith's trade, and both learned painting under Bolognese influences. Both eventually found their sphere in the delineation of the life around them. There the similarity ceases. Longhi lacks, as I have said, the humour, the satire, the penetrative imagination, the broad sympathy with human nature in its coarser aspects, which make Hogarth unrivalled as a pictorial moralist. At the same time, it is difficult to imagine that Longhi was not influenced by Hogarth. In the technique of his art he displays something which appears to be derived from the elder and stronger master – a choice of points for observation, an arrangement of figures in groups, a mode of rendering attitude and suggesting movement; finally, the manner of execution reminds us of Hogarth. Longhi abandoned his false decorative style, the style of the Palazzo Sagredo, at some time after 1734. This date corresponds with Hogarth's triumphant entrance upon his career as a satirical painter of society. Possibly Longhi may have met with the engravings of the Marriage à la Mode, and may have been stimulated by them to undertake the work, which he carried on with nothing of Hogarth's moral force, and with a small portion of his descriptive faculty, yet still with valuable results for the student of eighteenth-century manners.

VI

In 1763 an Academy for the study of the arts of design was opened by some members of the Pisani family in their palace at S. Stefano. The chiefs of that patrician house were four sons of the late Doge Alvise Pisani. According to Lazari, my sole authority for this passage in Longhi's biography, the founder of the Academy was a Procuratore di S. Marco, who had a son of remarkable promise. This son he wished to instruct in the fine arts; and Pietro Longhi was chosen to fill the chair of painting, which he occupied for two years. At the end of that time young Pisani died, and the institution was closed – now that the hopes which led to its foundation were extinguished.⁹⁴

Among the few facts of Longhi's life this connection with the Pisani Academy has to be recorded. It is also of some importance in helping us to decide whether a large portrait-picture, representing the chiefs of the Pisani family, together with the wife and children of one of its most eminent members (Luigi, a godchild of Louis XIV.), is rightly ascribed to him. The huge canvas, which is now in the possession of the Contessa Evelina Almorò Pisani, was found by her rolled up and hidden away in a cabinet beneath the grand staircase of the Palazzo Pisani at S. Stefano.⁹⁵ It proved to be in excellent preservation; and it is signed in large clear text letters —opus Petri Longi. So far there would seem to be no doubt that the picture is genuine; and I, for my part, am prepared to accept it as such, when I consider that Longhi enjoyed the confidence of the Pisani family and presided over their Academy about the period when it was executed. Yet the student of his works cannot fail to be struck by marked differences of style between this and other authentic pictures from his hand.

The central group consists of the noble Lady Paolina Gambara, wife of Luigi Pisani, seated with her children round her.⁹⁶ Her husband stands behind, together with his three brothers and an intimate friend of the house. Allegorical figures representing the arts and sciences complete the composition. In the distance is seen the princely palace of Stra upon the Brenta, which was designed in part by one of the Pisani brothers. The arrangement of these inter-connected groups is excellent; the characterisation of the several heads, admirable; the drawing, firm and accurate; and the whole scene is bathed in a glow of roseate colour which seems actually to radiate light. Longhi, so far as I am aware, produced nothing in the same style as this complicated masterpiece of portraiture and allegorical suggestion. In conception, execution, and scheme of colour, it reminds us of a French painter; and if he had left a series of such works, he might have deserved what now seems the inappropriate title of the Venetian Boucher.

I cannot pretend to have seen more than a small portion of Longhi's pictures. But this portrait of the Pisani family detaches itself as something in a different key of feeling and of workmanship from any with which I am acquainted. Admirers of his art should not fail to pay it the attention it deserves; and if the day comes when a thorough study of this interesting master shall be made, it is not impossible that genuine paintings in the same manner may be discovered.

VII

A series of frescoes attributed to Pietro Longhi should also here be mentioned. They decorate three sides of the staircase of the Palazzo Sina (formerly Grassi) on the Grand Canal. The balustrades of an open loggia or gallery are painted with bold architectural relief. Behind the pilasters of this balcony a motley company of life-sized figures promenade or stand about in groups. Some are entering in Carnival costume, with masks and long mantles. Others wear the gala dress of the last century. Elderly ladies are draped in the black zendado of Venetian aristocracy. Grave senators bend their courtly heads beneath the weight of snowy periwigs. Lacqueys in livery and running footmen in Albanian costume wait upon the guests, handing chocolate or wines on silver trays. This scene of fashionable life is depicted with vivacity; the studies of face and attitude are true to nature; an agreeable air of good tone and sober animation pervades the whole society. Probably many of the persons introduced were copied from the life; for it is reported of Longhi that one of his greatest merits was the dexterity with which he reproduced the main actors in the bel monde of Venice – so that folk could recognise their acquaintances upon his canvas merely by the carriage of their mask and domino.

Owing to restoration, it is difficult to say how far the fresco-painting was well executed, and to what extent the original tone has been preserved. At present the colouring is somewhat chalky, dull, and lifeless; and I suspect Longhi's brush-work suffered considerably when the palace was internally remodelled some years ago.

VIII

It only remains to speak of Pietro Longhi's sketch-book. This collection of original drawings, numbering 140 pieces, and containing a very large variety of studies (several pages being filled on front and back with upwards of ten separate figures) was formed by Alessandro Longhi. It came into the possession of the patrician Teodoro Correr, who bequeathed it, together with the rest of his immense museum, to the town of Venice.

As a supplement to Longhi's paintings, this sketch-book is invaluable. It brings us close to the artist's methods, aims, and personal predilections in the choice of motives. Most of the drawings are done in hard black pencil or chalk, heightened and corrected with white; a few in soft red chalk. Unfortunately, they have suffered to a large extent from rubbing; and this injury is likely to increase with time, owing to the clumsy binding of the volume which contains them.

Studies from the nude are conspicuous by their extreme rarity and want of force. Great attention has been paid to the details of costume and furniture. The zendado, the bautta, the hoop, the bag-wig, the fop's coat and waistcoat, the patrician's civil mantle, the knee-breeches and stockings of a well-dressed gentleman, are copied and re-copied with loving care. Painters at the easel, ballet-girls with castanets, maid-servants holding trays, grooms and lacqueys, men on horseback, serenaders with lute or mandoline, ballad-singers, music and dancing-masters, women working at lace-pillows, gentlemen in bed, sportsmen discharging their fowling-pieces, gondoliers rowing, little girls in go-carts or fenced chairs, sellers of tarts upon the street, country boys in taverns, chests of drawers, pots, pans, jugs, gourds, wine-flasks, parrots in cages, ladies at the clavichord, queues, fans, books, snuff-boxes, tables, petticoats, desks, the draperies of doors and windows, wigs, footmen placing chairs for guests, beaux bowing in the doorway or whispering tender nothings at a beauty's ear, old men reclining in arm-chairs, embroiderers at work, muffs, copper water-buckets, nurses with babies in their arms, silver plate of all descriptions: – such is the farrago of this multiform and graceful, but limited, series of transcripts from the world of visible objects. It is clear that Longhi thought "the proper study of mankind is man;" and man as a clothed, sociable, well-behaved animal.

His sketches are remarkable for their strenuous sincerity – their search after the right attitude, their serious effort to hit the precise line wanted, their suggested movement and seizure of life in the superficies. They have a sustained air of good-breeding, refined intelligence, and genial sympathy with the prose of human nature. Landscape might never have existed so far as Longhi was concerned. I do not think that a tree, a cloud, or even a flower will be found among the miscellaneous objects he so carefully studied and drew so deftly. The world he moved in was the world of men and women meeting on the surface-paths of daily intercourse. Even here, we do not detect the slightest interest in passionate or painful aspects of experience. All Longhi's people are well-to-do and placid in their different degrees. The peasants in the taverns do not brawl, nor the fine gentlemen fight duels, nor the lovers in the drawing-rooms quarrel. He seems to have overlooked beggary, disease, and every form of vice or suffering. He does not care for animals. With the exception of a parrot, a caged canary, and a stiffly drawn riding-horse, the brute creation is not represented in these sketches. No sarcasm, no grossness, no violence of any kind, disturbs the calm artistic seriousness, the sweet painstaking curiosity of his mental mood. The execution throughout is less robust than sensitively delicate. We feel a something French, a suggestion of Watteau's elysium of fashion, in his touch on things. In fine, the sketch-book corroborates the impression made on us by Longhi's finished pictures.