Información sobre el texto
Título del texto editado:
“Letter XV (IV From Periodicals to Fine Arts)”
Autor del texto editado:
Blaquière, Edward 1779-1832
Título de la obra:
An Historical Review of the Spanish Revolution
Autor de la obra:
Blaquière, Edward 1779-1832
Edición:
London:
G. & W. B. Whittaker,
1822
Although the arrival of Charles III. was marked by the publication of several weekly and monthly publications, as well as of some newspapers, highly esteemed in their day, nearly all of those ended their career with the reign of that patron of letters, and never were revived: so that periodical literature may be said to be still more in its infancy here than any other branch. Impressed with the importance of guiding public taste and opinion, various individuals have shown a becoming zeal on the subject of periodical publications since the establishment of liberty. El Censor, which appears weekly, and La Miscellanea, a daily paper, receive literary contributions from the most enlightened amongst the Afrancesados; particularly the learned Cambronero, a passionate advocate for Mr. Bentham's philosophy. 1 Don Jose Joaquin de Mora, to whom I am indebted for much valuable information, and many personal civilities, has, from his own extensive resources, and scarcely with any patronage, (which is, as yet, sadly deficient in Spain,) sustained the weight of a daily paper, El Constitucional, conducted with singular ability; also La Minerva Nacional, modelled on the plan of that lately suppressed by the French censorship. M. de Mora is one of the best political writers in Spain, a very good poet, and also conversant with English literature.
Many Journals have appeared and disappeared during the last six months, and it will doubtless be some time before the cares and labours of editorship are either understood, or sufficiently rewarded in Spain. It is devoutly to be hoped that, rather than become the tools of corruption, or minister to the cupidity of faction, the Spanish editors will be satisfied with moderate profits, and the still more important advantage of a self-approving conscience. Amidst so many newspapers which have either maintained their ground, or been discontinued, for want of adequate support, since the restoration of liberty, it is a most honourable trait in the character of public writers, that only one journal has espoused the cause of the Ministers for the sake of their patronage. Without paying so bad a compliment to these writers, as to suppose that government could not afford to buy over any more, (for money can always be found for the purposes of corruption,) I cannot help saying that no act of the first constitutional ministers seems to be more deserving of unqualified reprehension than their tampering with the press. Those to whom I would willingly address this observation, ought to have been too patriotic to retain power, which required the aid of mercenary pens for its support: they ought, above all, to have been the first to recognize the important truth, that the press is useful only when conducted on principles of disinterestedness and impartiality. Why had not the Patriots of 1812 rather begun their administration, by declaring that public opinion ought to be the invariable guide of public writers, and that the man who sells his pen to support all the measures of a ministry, whether right or wrong, betrays the interests of truth and of his country?
I need scarcely say that the fine arts, those handmaids to literature and science, have not yet been able, any more than the latter, to stem the torrent of obstacles, uniformly opposed to their progress in Spain. 2 Unlike music, which is indigenous to the soil, painting and sculpture are arts which, above all others, require the fostering hand of patronage. Charles III. was fully impressed with the salutary influence, which both are capable of exercising, in refining the manners, and improving the taste of a people, if properly directed: his choice of Raphael Mengs, who justly merited the flattering title of El pintor filosofo, conferred on him while living, is a proof that the paternal monarch was desirous of reviving the Spanish school, which had shared the fate of its literature, in the seventeenth century. The exquisite frescos of Mengs, and his judicious choice of subjects from the heathen mythology, to the exclusion of Saints, Martyrs, Angels and Devils, shows his anxiety to introduce a gradual change in the old system, by which the arts had been employed only to perpetuate error and increase superstition. His essays on art, and eulogiums on the most celebrated masters of Italy, were extremely well calculated to produce the desired improvement; but having the prejudices of religion, and power of the Holy Office, to contend with, the excellent advice of Mengs was neglected, so that, as in matters of legislation, a revival of the fine arts will depend, in a great measure, on the Cortes: for, when neither patronage nor protection is afforded by the rich and great, to whom can artists look with more propriety than to those who are most interested in making their talents subservient to the cause of freedom and virtue?
It would be endless to recapitulate all the causes that have contributed to destroy a school, which, in the days of Velazquez, Murillo and Ribera, vied with those of Lombardy, Florence and Rome: the impossibility of finding patrons amongst the grandees, and the vitiated taste of the monks and priests, were, doubtless, the most conspicuous. To be convinced of how effectually all sense of good taste and judgment in art had vanished from this country, it is merely necessary to visit a few of the churches and convents in Madrid, in which both are set at defiance to a most lamentable degree. 3 If the intention of those who were charged with the embellishment of churches, was to inspire exalted notions of the Divinity, and pure conceptions of religion, what could be less likely to produce either of these effects, than the innumerable absurdities which are represented on the walls of churches and convents in this country. It would be well for the interests of religion and truth, were these proofs of barbarism and ignorance to be collected, and share the fate of the chivalric library of La Mancha.
A variety of important considerations will naturally occur to those who are entrusted with the future direction of public taste in matters of art; if it be intended that painting and sculpture shall contribute to promote religion, morals and patriotism, they will decide how far the representation of subjects, whether sacred or profane, that have not the most distant analogy to the business or occupations of real life, can advance either one or the other. It would, no doubt, be regarded as a calamity by the ministers of religion in Spain, if they were to be deprived of only a small portion of those objects, with which they have so long held, silent converse, and before which their rosaries have been so often counted. The lovers of classical lore would be equally shocked, if the place of their deities, including sphynxes, cerberuses, centaurs, wild boars, hydras and satyrs, were to be occupied by heros, philosophers and statesmen, who had conferred favours on mankind, and taught the way to happiness by examples of wisdom and valour. However grating a change in this respect might be to the feelings of these two classes, it is certainly not unworthy the attention of a legislator to inquire, what is the true object of the arts, and how far it is expedient, exclusively to occupy the temples, or places of public resort, with objects such as those to which I have alluded; or, whether effects favourable to religion and virtue, might not be produced by a different mode of embellishing churches, colleges and public establishments of every kind.
Many as the objections are, which may be brought against the first person who attempts innovations of the above nature, it is impossible for the most ardent admirer of that heterogeneous mixture of subjects, derived from the heated imagination of fanatics and enthusiasts, whether the followers of christianity, or votaries of heathen mythology, to deny that the display of those pictures and statues to which I allude, have any influence on the moral and religious habits of the community, or that they are not totally unintelligible to the majority of the public. 4
Should the artists of Spain be encouraged, either by government or individuals, to celebrate the actions of her heroes past and present, there is no country in Europe, whose history furnishes so many subjects for the chisel and pencil; whether their efforts be directed to the illustration of historical subjects, landscape, or domestic life, a wide field is open to them; and whenever the change takes place, I do not hesitate to predict, that an important auxiliary will be obtained in favor of civilization.
In describing the hall of Cortes, I had occasion to notice the elegance displayed, both in the architectural and sculptural embellishments of its beautiful interior: I have since heard that most of the statues and basso-relievos were prepared under the direction of a young artist named Alvarez, who had studied at Rome, and attracted universal applause, for powers that promise to rival those of the most celebrated sculptors in the “Eternal City.” Madrazo, historical painter to the King, is much more free from those defects which I was prepared to meet on my arrival here, than could be expected, where so much has been done to destroy the fine arts. It is evident that M. Madrazo has profited by the lessons of his renowned predecessor, the philosophical painter; and though confined from necessity to the monkish mythology, the various historical subjects and portraits, their superior execution, both in design and colouring, which I saw in his study, convinced me that he has long since disengaged himself from the trammels of former days. 5
Upon the whole, backward as the state of art may be in Spain, I feel satisfied that its elements are not less abundant here than in other places: to give harmony and regularity to them, all that artists require, is that a salutary direction be given to their studies, the excitement of that emulation, without which the finest talents remain dormant; and above all, such encouragement from the rich, the natural protectors of genius, that is as essential to talents as the dews of heaven to the vegetable world. 6
There is no country where the harmony of sweet sounds has dispensed more happiness, or produced such salutary effects as in the Peninsula, nor which boasts a greater share of originality. Whether solemn or gay, serious or melancholy, there is an indescribable charm in Spanish music, which finds its way directly to the heart. The talismanic effect of Riego's hymn, As this celebrated hymn belongs not only to the literature, but to the political history of Spain, it affords me much pleasure to be able to subjoin the translation of it, by my friend Mr. Bowring; which was alluded to in a former letter. Like all those specimens of Spanish poetry which have proceeded from the pen of my friend, it is considerably improved, without departing from the sense or spirit of the original. “The country we cherish / Hath summoned us now, / To conquer or perish, / Our promise—our vow. / “In joy and in triumph, / Serene, but delighted / Our voices united, / Sing Victory's lay: / The Cid was our father, / And proud gratulations, / Proclaim from all nations, / “His children are they!” / “ Unsheath then your weapons,For freedom and bravery, / The hirelings of slavery / Shall scatter to nought;Like dew on the mountains, / Which morning assembles,Their armament trembles / And flies at the thought. / “Oh mid-day of glory!Gave history's pages, / In records of ages, / A record so bright; / As when our Riego, / By liberty lighted, / His legions invited / To liberty's fight. / “Oh! crown them with laurels, / And wreaths bright and vernal, / And glory eternal / Who first drew the sword / 'They call'd on our country, / She heard them, she blessed them, / And weeping caressed them, / And rose at the word! / “She stood in her glory, / Her voice was like thunder, / Then tore she asunder, / The fetters of shame. / Death had not a terror, / It could but unchain us, / Or victory gain us / Both freedom and fame. / “The fetters are broken, / The vile one who bears them, / Shall feel as he wears them, / They enter his soul; / We, liberty's children, / His madness redeeming, / March,-victory beaming, / To liberty's goal. / “The trumpet is sounding! / Shrink slavery and folly, / Our conduct is holy, / Our conscience is pure. / Ye vassals of tyrants, / Ye tremble—ye tremble, / Our heroes assemble, / Our triumph is sure. without mentioning those marches and songs composed during the war of independence, proves that like their fellow men of Erin and Caledonia, the sons of Iberia have also been indebted for their most brilliant victories to the irresistible impulse of national music. This being the case, it is almost superfluous to add, that like painting and sculpture, music may also become an important ally of the patriot government. Happy that nation, in which the people are stimulated to acts of valour and virtue, by the aid of such mild and gentle auxiliaries!
1. M. Cambronero, than whom it would be difficult to name a purer patriot, or a more amiable private character, was minister of Justice to King Joseph, and remained in France till the recent changes in Spain. He is a staunch reformer, and an excellent writer, whether it be on legislation or politics.
2. Pictures and engravings representing any subject that did not please the Inquisitors, or that had a tendency to promote reason and reflection, were rigidly prohibited by the Holy Office.
3. It was a common practice in Spain and Portugal to nail up a silver or gilt crown of glory over the heads of the virgin and infant Jesus, in pictures, in churches; thereby completely ruining them, in effect, if well painted; and a good picture, as an altar piece, was usually accompanied by trumpery wooden images, on each side, dressed up in tawdry tarnished finery.
4. Any person who might suggest the propriety of substituting patriots and philosophers for the mythological deities, dressed and undressed; from the colossal Neptune, which forms such a conspicuous ornament of the Prado, to the Tarnesian Hercules, Venus and Muses of Las Delicias, would be apt to share the fate of Orpheus, should he broach his sacrilegious doctrine amidst the coterie of classical dilletanti: what would they say, if he advanced, as his humble opinion, that the constant exhibition of those statues in public did not exercise a favourable influence on morals? Exquisite and refined as the taste of the ancients was, in many respects, it may be truly said, that a too servile imitation has deprived the moderns of the spirit of originality, in several points. Those who have seen the amphitheatre at Nismes, will, however, scarcely deny, that their taste cannot be followed in all things. The love of antiquity must have been carried very far indeed where such accessories are suffered to remain. The patronage of Lous XIV. to the gods and goddesses of the Tuilleries and Versailles is excusable, when compared to the indulgence of his successors towards the emblems and devices still exposed in the above named city.
5. M. Madrazo has studied for many years at Rome, and left a specimen of his talents at the Quirinal palace, in a beautiful fresco, painted by the desire of Pius VII.
6. In the event of there being a periodical exhibition of the works of art in this country, it has been suggested, that, besides the incentives to exertion caused by appropriate and liberal rewards on the part of government, a certain number of foreign artists of eminence ought to be allowed to exhibit their pictures: thus enabling those of Spain to correct defects, or emulate their more experienced competitors.
GRUPO PASO (HUM-241)
FFI2014-54367-C2-1-R FFI2014-54367-C2-2-R
2018
M Luisa Díez, Paloma Centenera
