But the time at length came when that stimulus was to be communicated to taste which sent a thrill throughout the general heart of Europe. The pictures of the old Greeks were lost for ever, dead and gone; but their statues were only buriedburied aliveand now, at the command of wealth and genius, they were dug out of their tomb of ages, and came forth, unharmed, in their enchanted life and immortal beauty. Yes, unharmed; for in the head, the torso, the limb, the hand, the finger, the same principle of life existed as in the entire figure; and, owing to the sublime law of proportion, which bound all together, the minutest fragment indicated a perfect whole. The palace of Lorenzo de Medici was the assembling-place, and the ideal beauty of the Greeks found a new shrine in the groves of Florence. These became a true academia, where genius studied and taught, and where the presiding spirit of the place was Michael Angelo Buonarotti,[A] the sculptorpainterarchitectpoet, whose universal mind appeared to fit him, not so much to shine in any one departmentalthough shine he did in allas to give an impetus to the whole Revival. But Michael Angelo, as a painter, excelled chiefly in design; while one who was his contemporary, and being a few years later in the field, has been supposed by some to be his imitator, was the painter par excellence of the new erathe first great painter of the moderns. This was Raphael. He was the pupil of Perugino; and while such, contented himself with imitating, with the utmost fidelity, the works of that artist; till at length emancipating himself from tutelage, he went for inspiration to the cartoons of Michael Angelo, to the sculptures of the Medici gardens, and to nature herself. Vasari makes Michael Angelo the magnus Apollo of Raphael; but Quatremère de Quincy assigns to the latter artist a holier worship. In a letter from him, which he quotes, respecting his famous picture of the Galatea, Raphael says, that in order to paint a beautiful woman, he must see many, but that, after all, he must work upon a certain ideal image present in his mind. 'We thus see,' says the French critic, 'that he really sought after the beautiful which Nature presents to art, but which the imagination of the artist alone can seize, and genius alone realise.'
Raphael was the first of the moderns to idealise beauty, or, in other words, to represent nature in the form she is striving, in her infinite progression, to attain, but which as yet she only indicates here and there in those hints and parts that prophetic genius combines and moulds into a whole. He softened the harsh outlines, mellowed the glaring colours, and harmonised the awkward proportions of mediæval art. With him, a new epoch commenced, adorned by many illustrious names, from Julio Romano, the poet of painters, to Titian, who clipped his pencil
in the rainbow. The Lombard school of Titian was the third of the three first great schools of the Revival, in which taste, emancipated from the darkness of the middle ages, sought inspiration in nature and the Greek sculptures. What would be thought if a school were to arise three hundred years later, not merely discarding the experience and teachings of the great masters, but claiming by its very name to return into the gulf from which these had been emancipated? This school of decline has, in fact, made its appearance among the other symptoms of the mediæval mania, and we now gravely hang up in our exhibitions the productions of the Pre -Raphaelites! The name at first provoked so much ridicule in England, that their friends were at pains to inform the world, that it was assumed merely for the purpose of intimating their entire separation from the schools of Raphael and his successors, and their exclusive devotion to nature. The artists of Germany, however, with whom the mania commenced, were less scrupulous. They imitated, purposely, the rudeness of the early painters, and even favourably distinguished the juvenile works of Raphael when he was as yet the mere copyist of Perugino. It is thus only the reformed schools the Pre-Raphaelists avoid; for Mr Ruskin's notion, that there were no schools at all before Raphael, is quite too wild for answer. The name, however, is of little consequence. The nature returned to is obviously, to any one who has eyes in his head, the nature of the middle ages; and if our readers will look again at the quotations we have made abovewhich were not taken at randomthey will find, in the words of Dionysius of Halicarnassus, Vasari, and William Roscoe, a pretty accurate description of the genius and manner of the Pre-Raphaelites.
Nor could the fact be otherwise. We have noticed the identity of taste between the Chinese and the unawakened Europeans, as pointing to a natural stage in art-development; and if we allot to the new school a position one degree higher than that of Cimabue and Giotto, it is all that can be claimed by artists, who have even attempted to dismiss from their minds a later and nobler experience. Their rule isto have no rule; to copy nature, just as she happens to be before them; to select nothing, reject nothing, subordinate nothing, and thus to have no composition and no chiaro-scuro. They recognise no inequality, no relationship of objects: a pin in a lady's dress, and the nose on the lady's face, are treated with the same even-handed justice. The harmony of colours is a mere dream: let them only be as bright as a stained-glass window, and all is well.