按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
stivals （festaiuoli）； shows that the art was early perfected at home。
In setting forth the chief points of superiority in the Italian festivals over those of other countries； the first that we shall have to remark is the developed sense of individual character… istics； in other words； the capacity to invent a given mask； and to act the part with dramatic propriety。 Painters and sculptors not merely did their part towards the decoration of the place where the festival was held； but helped in getting up the characters themselves； and prescribed the dress； the paints； and the other ornaments to be used。 The second fact to be pointed out is the universal familiarity of the people with the poetical basis of the show。 The Mysteries； indeed； were equally well understood all over Europe； since the biblical story and the legends of the saints were the common property of Christendom； but in all other respects the advantage was on the side of Italy。 For the recitations； whether of religious or secular heroes； she possessed a lyrical poetry so rich and harmonious that none could resist its charm。 The majority； too； of the spectatorsat least in the citiesunderstood the meaning of mythological figures； and could guess without much difficulty at the allegorical and historical； which were drawn from sources familiar to the mass of Italians。
This point needs to be more fully discussed。 The Middle Ages were essentially the ages of allegory。 Theology and philosophy treated their categories as independent beings； and poetry and art had but little to add； in order to give them personality。 Here all the countries of the West were on the same level。
Their world of ideas was rich enough in types and figures； but when these were put into concrete shape； the costume and attributes were likely to be unintelligible and unsuited to the popular taste。 This； even in Italy； was often the case； and not only so during the whole period of the Renaissance； but down to a still later time。 To produce the confusion； it was enough if a predicate of the allegorical figures was wrongly translated by an attribute。 Even Dante is not wholly free from such errors； and； indeed； he prides himself on the obscurity of his allegories in general。 Petrarch； in his 'Trionfi；' attempts to give clear； if short； descriptions of at all events the figures of Love； of Chastity； of Death； and of Fame。 Others again load their allegories with inappropriate attributes。 In the Satires of Vinciguerra； for example； Envy is depicted with rough； iron teeth； Gluttony as biting its own lips； and with a shock of tangled hair； the latter probably to show its indifference to all that is not meat and drink。 We cannot here discuss the bad influence of these misunderstandings on the plastic arts。 They； like poetry； might think themselves fortunate if allegory could be expressed by a mythological figureby a figure which antiquity saved from absurdityif Mars might stand for war； and Diana for the love of the chase。
Nevertheless art and poetry had better allegories than these to offer； and we may assume with regard to such figures of this kind as appeared in the Italian festivals； that the public required them to be clearly and vividly characteristic； since its previous training had fitted it to be a competent critic。 Elsewhere； particularly at the Burgundian court； the most inexpressive figures； and even mere symbols； were allowed to pass； since to understand； or to seem to understand them； was a part of aristocratic breeding。 On the occasion of the famous 'Oath of the Pheasant' in the year 1454； the beautiful young horsewoman； who appears as 'Queen of Pleasure；' is the only pleasing allegory。 The huge epergnes； with automatic or even living figures within them； are either mere curiosities or are intended to convey some clumsy moral lesson。 A naked female statue guarding a live lion was supposed to represent Constantinople and its future savior； the Duke of Burgundy。 The rest； with the exception of a Pantomime Jason in Colchisseems either too recondite to be understood or to have no sense at all。 Oliver de la Marche； to whom we owe the description of the scene （Memoires； ch。 29）； appeared costumed as 'The Church；' in a tower on the back of an elephant； and sang a long elegy on the victory of the unbelievers。
But although the allegorical element in the poetry； the art； and the festivals of Italy is superior both in good taste and in unity of conception to what we find in other countries； yet it is not in these qualities that it is most characteristic and unique。 The decisive point of superiority lay rather in the fact that； besides the personifications of abstract qualities； historical rep… resentatives of them were introduced in great numberthat both poetry and plastic art were accustomed to represent famous men and women。 The 'Divine Comedy；' the 'Trionfi' of Petrarch； the 'Amorosa Visione' of Boccaccioall of them works constructed on this principleand the great diffusion of culture which took place under the influence of antiquity； had made the nation familiar with this historical element。 These figures now appeared at festivals； either individualized； as definite masks； or in groups； as characteristic attendants on some leading allegorical figure。 The art of grouping and composition was thus learnt in Italy at a time when the most splendid exhibitions in other countries were made up of unintelligible symbolism or unmeaning puerilities。
Let us begin with that kind of festival which is perhaps the oldest of allthe Mysteries。 They resembled in their main features those performed in the rest of Europe。 In the public squares； in the churches and in the cloisters； extensive scaffolds were constructed； the upper story of which served as a Paradise to open and shut at will； and the ground…floor often as 8 Hell； while between the two lay the stage properly so called； representing the scene of all the earthly events of the drama In Italy； as elsewhere； the biblical or legendary play often began with an introductory dialogue between Apostles； Prophets； Sibyls； Virtues； and Fathers of the Church； and sometimes ended with a dance。 As a matter of course the half…comic 'Intermezzi' of secondary characters were not wanting in Italy； yet this feature was hardly so broadly marked as in northern countries。 The artificial means by which figures were made to rise and float in the airone of the chief delights of these representationswere probably much better understood in Italy than elsewhere； and at Florence in the fourteenth century the hitches in these performances were a stock subject of ridicule。 Soon afterwards Brunellesco invented for the Feast of the Annunciation in the Piazza San Felice a marvelous ap… paratus consisting of a heavenly globe surrounded by two circles of angels； out of which Gabriel flew down in a machine shaped like an almond。 Cecca； too； devised mechanisms for such displays。 The spiritual corporations or the quarters of the city which undertook the charge and in part the performance of these plays spared； at all events in the larger towns； no trouble and expense to render them as perf