Faustus is therefore a parable of the impotent yearnings of the Middle Ages—its passionate aspiration, its conscience-stricken desire, its fettered curiosity amid the tramping limits of imperfect knowledge and irrational dogmatism. The indestructible beauty of Greek art,—whereof Helen was an emblem, became, through the discovery of classic poetry and sculpture, the possession of the modern world. MediÆvalism took this Helen to wife, and their offspring, the Euphorion of Goethe's drama, is the spirit of the modern world.—J.A. Symonds, "Renaissance In Italy," vol. ii. p. 54.

Euphorion is the name given by Goethe to the marvellous child born of the mystic marriage of Faust and Helena. Who Faust is, and who Helena, we all know. Faust, of whom no man can remember the youth or childhood, seems to have come into the world by some evil spell, already old and with the faintness of body and of mind which are the heritage of age; and every additional year of mysterious study and abortive effort has made him more vacillating of step and uncertain of sight, but only more hungry of soul. Postponed and repressed by reclusion from the world, and desperate tension over insoluble problems; diverted into the channels of mere thought and vision; there boils within him the energy, the passion, of retarded youth: its appetites and curiosities, which, cramped by the intolerant will, and foiled by many a sudden palsy of limb and mind, torment him with mad visions of unreal worlds, mock him with dreams of superhuman powers, from which he awakes in impotent and apathetic anguish. But these often- withstood and often-baffled cravings are not those merely of scholar or wizard, they are those of soldier and poet and monk, of the mere man: lawless desires which he seeks to divert, but fails, from the things of the flesh and of the world to the things of the reason; supersensuous desires for the beautiful and intangible, which he strives to crush, but in vain, with the cynical scepticism of science, which derides the things it cannot grasp. In this strange Faustus, made up of so many and conflicting instincts; in this old man with ever- budding and ever-nipped feelings of youthfulness, muddling the hard-won secrets of nature in search after impossibilities; in him so all-sided, and yet so wilfully narrowed, so restlessly active, yet so often palsied and apathetic; in this Faustus, who has laboured so much and succeeded in so little, feeling himself at the end, when he has summed up all his studies, as foolish as before—which of us has not learned to recognize the impersonated Middle Ages? And Helena, we know her also, she is the spirit of Antiquity. Personified, but we dare scarcely say, embodied; for she is a ghost raised by the spells of Faustus, a simulacrum of a thing long dead; yet with such continuing semblance of life, nay, with all life's real powers, that she seems the real, vital, living one, and Faustus yonder, thing as he is of the present, little better than a spectre. Yet Helena has been ages before Faust ever was; nay, by an awful mystery like those which involve the birth of Pagan gods, she whom he has evoked to be the mother of his only son has given, centuries before, somewhat of her life to make this self-same Faust. A strange mystery of Fate's necromancy this, and with strange anomalies. For opposite this living, decrepit Faust, Helena, the long dead, is young; and she is all that which Faust is not. Knowing much less than he, who has plunged his thoughts like his scalpel into all the mysteries of life and death, she yet knows much more, can tell him of the objects and aims of men and things; nay, with little more than the unconscious faithfulness to instinct of the clean-limbed, placid brute, she can give peace to his tormented conscience; and, while he has suffered and struggled and lashed himself for every seeming baseness of desire, and loathed himself for every imagined microscopic soiling, she has walked through good and evil, letting the vileness of sin trickle off her unhidden soul, so quietly and majestically that all thought of evil vanishes; and the self-tormenting wretch, with macerated flesh hidden beneath the heavy garments of mysticism and philosophy, suddenly feels, in the presence of her unabashed nakedness, that he, like herself, is chaste.

Such are the parents, Faustus and Helena; we know them; but who is this son Euphorion? To me it seems as if there could be but one answer—the Renaissance. Goethe indeed has told us (though, with his rejuvenation of Faustus, unknown to the old German legend and to our Marlowe, in how bungling a manner!) the tale of that mystic marriage; but Goethe could not tell us rightly, even had he attempted, the real name of its offspring. For even so short a time ago, the Middle Ages were only beginning to be more than a mere historical expression, Antiquity was being only then critically discovered; and the Renaissance, but vaguely seen and quite unformulated by the first men, Gibbon and Roscoe, who perceived it at all, was still virtually unknown. To Goethe, therefore, it might easily have seemed as if the antique Helena had only just been evoked, and as if of her union with the worn-out century of his birth, a real Euphorion, the age in which ourselves are living, might have been born. But, at the distance of additional time, and from the undreamed-of height upon which recent historical science has enabled us to stand, we can easily see that in this he would have been mistaken. Not only is our modern culture no child of Faustus and Helena, but it is the complex descendant, strangely featured by atavism from various sides, of many and various civilizations; and the eighteenth century, so far from being a Faustus evoking as his bride the long dead Helen of Antiquity, was in itself a curiously varied grandchild or great-grandchild of such a marriage, its every moral feature, its every intellectual movement proclaiming how much of its being was inherited from Antiquity. No allegory, I well know, and least of all no historical allegory, can ever be strained to fit quite tight—the lives of individuals and those of centuries, their modes of intermixture, genesis, and inheritance are far different; but if an allegory is to possess any meaning at all, we must surely apply it wherever it will fit most easily and completely; and the beautiful allegory prepared by the tradition of the sixteenth century for the elaborating genius of Goethe, can have a real meaning only if we explain Faust as representing the Middle Ages, Helena as Antiquity, and Euphorion as that child of the Middle Ages, taking life and reality from them, but born of and curiously nurtured by the spirit of Antiquity, to which significant accident has given the name of Renaissance. After Euphorion I have therefore christened this book; and this not from any irrational conceit of knowing more (when I am fully aware that I know infinitely less) than other writers about the life and character of this wonderful child of Helena and Faustus, but merely because it is more particularly as the offspring of this miraculous marriage, and with reference to the harmonies and anomalies which therefrom resulted, that Euphorion has exercised my thoughts. The Renaissance has interested and interests me, not merely for what it is, but even more for what it sprang from, and for the manner in which the many things inherited from both Middle Ages and Renaissance, the tendencies and necessities inherent in every special civilization, acted and reacted upon each other, united in concord or antagonism; forming, like the gases of the chemist, new things, sometimes like and sometimes unlike themselves and each other; producing now some unknown substance of excellence and utility, at other times some baneful element, known but too well elsewhere, but unexpected here. But not the watching of the often tragic meeting of these great fatalities of inherited spirit and habit only: for equally fascinating almost has been the watching of the elaboration by this double-natured period of things of little weight, mere trifles of artistic material bequeathed to it by one or by the other of its spiritual parents. The charm for me—a charm sometimes pleasurable, but sometimes also painful, like the imperious necessity which we sometimes feel to see again and examine, seemingly uselessly, some horrible evil—the charm, I mean the involuntary compulsion of attention, has often been as great in following the vicissitudes of a mere artistic item, like the Carolingian stories or the bucolic element, as it has been in looking on at the dissolution of moral and social elements. And in this, that I have tried to understand only where my curiosity was awakened, tried to reconstruct only where my fancy was taken; in short, studied of this Renaissance civilization only as much or as little as I cared, depends all the incompleteness and irrelevancy and unsatisfactoriness of this book, and depends also whatever addition to knowledge or pleasure it may afford; Were I desirous of giving a complete, clear notion of the very complex civilization of the Renaissance, a kind of encyclopÆdic atlas of that period, where (by a double power which history alone possesses) you could see at once the whole extent and shape of this historical territory, and at the same time, with all its bosses of mountain and furrows of valley, the exact composition of all its various earths and waters, the exact actual colour and shape of all its different vegetations, not to speak of its big towns and dotting villages;—were I desirous of doing this, I should not merely be attempting a work completely beyond my faculties, but a work moreover already carried out with all the perfection due to specially adapted gifts, to infinite patience and ingenuity, occasionally amounting almost to genius. Such is not at all within my wishes, as it assuredly would be totally without my powers.

But besides such marvels of historic mapping as I have described, where every one can find at a glance whatever he may be looking for, and get the whole topography, geological and botanical, of an historic tract at his fingers' ends, there are yet other kinds of work which may be done. For a period in history is like a more or less extended real landscape: it has, if you will, actual, chemically defined colours in this and that, if you consider this and that separate and unaffected by any kind of visual medium; and measurable distances also between this point and the other, if you look down upon it as from a balloon. But, like a real landscape, it may also be seen from different points of view, and under different lights; then, according as you stand, the features of the scene will group themselves—this ridge will disappear behind that, this valley will open out before you, that other will be closed. Similarly, according to the light wherein the landscape is seen, the relative scale of colours and tints of objects, due to pervading light and to distances—what painters call the values—will alter: the scene will possess one or two predominant effects, it will produce also one or, at most, two or three (in which case co-ordinated) impressions. The art which deals with impressions, which tries to seize the real relative values of colours and tints at a given moment, is what you call new-fangled: its doctrines and works are still subject to the reproach of charlatanry. Yet it is the only truly realistic art, and it only, by giving you a thing as it appears at a given moment, gives it you as it really ever is; all the rest is the result of cunning abstraction, and representing the scene as it is always, represents it (by striking an average) as it never is at all. I do not pretend that in questions of history we can proceed upon the principles of modern landscape painting: we do not know what were the elevations which made perspective, what were the effects of light which created scales of tints, in that far distant country of the past; and it is safer certainly, and doubtless much more useful, to strike an average, and represent the past as seen neither from here nor from there, neither in this light nor that, and let each man imagine his historical perspective and colour value to the best of his powers. Yet it is nevertheless certain that the past, to the people who were in it, was not a miraculous map or other marvellous diagram constructed on the principle of getting at the actual qualities of things by analysis; that it must have been, to its inhabitants, but a series of constantly varied perspectives and constantly varied schemes of colour, according to the position of each individual, and the light in which that individual viewed it. To attempt to reconstruct those various perspective-making heights, to rearrange those various value-determining lights, would be to the last degree disastrous; we should have valleys where there existed mountains, and brilliant warm schemes of colour where there may have been all harmonies of pale and neutral tints. Still the perspective and colour valuation of individual minds there must have been; and since it is not given to us to reproduce those of the near spectator in a region which we can never enter, we may yet sometimes console ourselves for the too melancholy abstractness and averageness of scientific representations, by painting that distant historic country as distant indeed, but as its far-off hill ranges and shimmering plains really appear in their combination of form and colour, from the height of an individual interest of our own, and beneath the light of our individual character. We see only very little at a time, and that little is not what it appeared to the men of the past; but we see at least, if not the same things, yet in the same manner in which they saw, as we see from the standpoints of personal interest and in the light of personal temper. Scientifically we doubtless lose; but is the past to be treated only scientifically? and can it not give us, and do we not owe it, something more than a mere understanding of why and how? Is it a thing so utterly dead as to be fit only for the scalpel and the microscope? Surely not so. The past can give us, and should give us, not merely ideas, but emotions: healthy pleasure which may make us more light of spirit, and pain which may make us more earnest of mind; the one, it seems to me, as necessary for our individual worthiness as is the other. For to each of us, as we watch the past, as we lie passive and let it slowly circulate around us, there must come sights which, in their reality or in their train of associations, and to the mind of each differently, must gladden as with a sense of beauty, or put us all into a sullen moral ache. I should hate to be misunderstood in this more, perhaps, than in anything else in the world. I speak not of any dramatic emotion, of such egotistic, half-artistic pleasure as some may get from the alternation of cheerfulness and terror, from the excitement caused by evil from which we are as safely separated as are those who look on from the enfuriate bulls in an arena. To such, history, and the history especially of the Renaissance, has been made to pander up but too much.

The pain I speak of is the pain which must come to every morally sentient creature with the contemplation of some one of the horrible tangles of evil, of the still fouler intermeshing of evil with good, which history brings up ever and anon. Evil which is past, it is true, but of which the worst evil almost of all, the fact of its having been, can never be past, must ever remain present; and our trouble and indignation at which is holy, our pain is healthy: holy and healthy, because every vibration of such pain as that makes our moral fibre more sensitive; because every immunity from such sensation deadens our higher nature: holy and healthy also because, just as no image of pleasurable things can pass before us without gathering about it other images of some beauty which have long lain by in each individual mind, so also no thought of great injustice of man or of accident, of signal whitewashing of evil or befouling of good, but must, in striking into our soul, put in motion there the salutary thought of some injustice or lying legitimation or insidious pollution, smaller indeed perhaps, but perhaps also nearer to ourselves.

Be not therefore too hard upon me if in what I have written of the Renaissance, there is too little attempt to make matters scientifically complete, and too much giving way to personal and perhaps sometimes irrelevant impressions of pleasure and of pain; if I have followed up those pleasurable and painful impressions rather more than sought to discover the exact geography of the historical tract which gave them. Consider, moreover, that this very cause of deficiency may have been also the cause of my having succeeded in achieving anything at all. Personal impression has led me, perhaps, sometimes away from the direct road; but had it not beckoned me to follow, I should most likely have simply not stirred. Pleasant impression and painful, as I have said; and sometimes the painful has been more efficacious than the other. I do not know whether the interest which I have always taken in the old squabble of real and ideal has enabled me to make at all clearer the different characteristics of painting and sculpture in Renaissance portraiture, the relation of the art of Raphael to the art of Velasquez and the art of Whistler. I can scarcely judge whether the pleasure which I owe to the crowding together, the moving about in my fancy, of the heroes and wizards and hippogriffs of the old tales of Oberon and Ogier; the association with the knights and ladies of Boiardo and Ariosto, of this or that figure out of a fresco of Pinturicchio, or a picture by Dosso, has made it easier or more difficult for me to sum up the history of mediÆval romance in Renaissance Italy; nor whether the recollection of certain Tuscan farms, the well-known scent of the sun-dried fennel and mint under the vine-trellis, the droning song of the contadino ploughing or pruning unseen in the valley, the snatches of peasants' rhymes, the outlines of peasants' faces—things all these of this our own time, of yesterday or to-day; whether all this, running in my mind like so many scribbly illustrations and annotations along the margin of Lorenzo dei Medici's poems, has made my studies of rustic poetry more clear or more confused. But this much I know as a certainty, that never should I have tried to unravel the causes of the Renaissance's horrible anomaly of improvement and degradation, had not that anomaly returned and returned to make me wretched with its loathsome mixture of good and evil; its detestable alternative of endurance of vile solidarities in the souls of our intellectual forefathers, or of unjust turning away from the men and the times whose moral degradation paid the price of our moral dignity. I also have the further certainty of its having been this long-endured moral sickening at the sight of this moral anomaly, which enabled me to realize the feelings of such of our nobler Elizabethan playwrights as sought to epitomize in single tales of horror the strange impressions left by the accomplished and infamous Italy of their day; and which made it possible for me to express perhaps some of the trouble which filled the mind of Webster and of Tourneur merely by expressing the trouble which filled my own.

The following studies are not samples, fragments at which one tries one's hand, of some large and methodical scheme of work. They are mere impressions developed by means of study: not merely currents of thought and feeling which I have singled out from the multifold life of the Renaissance; but currents of thought and feeling in myself, which have found and swept along with them certain items of Renaissance lore. For the Renaissance has been to me, in the small measure in which it has been anything, not so much a series of studies as a series of impressions. I have not mastered the history and literature of the Renaissance (first-hand or second-hand, perfectly or imperfectly), abstract and exact, and then sought out the places and things which could make that abstraction somewhat more concrete in my mind; I have seen the concrete things, and what I might call the concrete realities of thought and feeling left behind by the Renaissance, and then tried to obtain from books some notion of the original shape and manner of wearing these relics, rags and tatters of a past civilization. For Italy, beggared and maimed (by her own unthrift, by the rapacity of others, by the order of Fate) at the beginning of the sixteenth century, was never able to weave for herself a new, a modern civilization, as did the nations who had shattered her looms on which such woofs are made, and carried off her earnings with which such things may be bought; and she had, accordingly, to go through life in the old garments, still half mediÆval in shape, which had been fashioned for her during the Renaissance: apparel of the best that could then be made, beautiful and strong in many ways, so beautiful and strong indeed as to impose on people for a good long time, and make French, and Germans, and Spaniards, and English believe (comparing these brilliant tissues with the homespun they were providing for themselves) that it must be all brand new, and of the very latest fashion. But the garments left to Italy by those latest Middle Ages which we call Renaissance, were not eternal: wear and tear, new occupations, and the rough usage of other nations, rent them most sorely; their utter neglect by the long seventeenth century, their hasty patchings up (with bits of odd stuff and all manner of coloured thread and string, so that a harlequin's jacket could not look queerer) by the happy-go-lucky practicalness of the eighteenth century and the Revolution, reduced them thoroughly to rags; and with these rags of Renaissance civilization, Italy may still be seen to drape herself. Not perhaps in the great centres, where the garments of modern civilization, economical, unpicturesque, intended to be worn but a short time, have been imported from other countries; but yet in many places. Yes, you may still see those rags of the Renaissance as plainly as you see the tattered linen fluttering from the twisted iron hooks (made for the display of precious brocades and carpets on pageant days) which still remain in the stained whitewash, the seams of battered bricks of the solid old escutcheoned palaces; see them sometimes displayed like the worm- eaten squares of discoloured embroidery which the curiosity dealers take out of their musty oak presses; and sometimes dragging about mere useless and befouled odds and ends, like the torn shreds which lie among the decaying kitchen refuse, the broken tiles and plaster, the nameless filth and ooze which attracts the flies under every black archway, in every steep bricked lane descending precipitously between the high old houses. Old palaces, almost strongholds, and which are still inhabited by those too poor to pull them down and build some plastered bandbox instead; poems and prose tales written or told five hundred years ago, edited and re-edited by printers to whom there come no modern poems or prose tales worth editing instead; half-pagan, mediÆval priest lore, believed in by men and women who have not been given anything to believe instead; easy-going, all-permitting fifteenth century scepticism, not yet replaced by the scientific and socialistic disbelief which is puritanic and iconoclastic; sly and savage habits of vengeance still doing service among the lower classes instead of the orderly chicanery of modern justice; —these are the things, and a hundred others besides, concrete and spiritual, things too magnificent, too sordid, too irregular, too nauseous, too beautiful, and, above all, too utterly unpractical and old-fashioned for our times, which I call the rags of the Renaissance, and with which Italy still ekes out her scanty apparel of modern thoughts and things.

It is living among such things, turn by turn delighted by their beauty and offended by their foulness, that one acquires the habit of spending a part only of one's intellectual and moral life in the present, and the rest in the past. Impressions are not derived from description, and thoughts are not suggested by books. The juxtaposition of concrete objects invites the making of a theory as the jutting out of two branches invites the spinning of a spider's web. You find everywhere your facts without opening a book. The explanation which I have tried to give of the exact manner in which mediÆval art was influenced by the remains of antiquity, came like a flash during a rainy morning in the Pisan Campo Santo; the working out and testing of that explanation in its details was a matter of going from one church or gallery to the other, a reference or two to Vasari for some date or fact being the only necessary reading; and should any one at this moment ask me for substantiation of that theory, instead of opening books I would take that person to this Sienese Cathedral, and there bid him compare the griffins and arabesques, the delicate figure and foliage ornaments carved in wood and marble by the latter Middle Ages, with the griffins and arabesques, the boldly bossed horsemen, the exquisite fruit garlands of a certain antique altar stone which the builders of the church used as a base to a pillar, and which must have been a never-ceasing- object of study to every draughtsman and stoneworker in Siena.

Nor are such everywhere-scattered facts ready for working into theoretic shape, the most which Italy still affords to make the study of the Renaissance an almost involuntary habit. In certain places where only decay has altered things from what they were four centuries ago, Perugia, Orvieto, S. Gimignano, in the older quarters of Florence, Venice, and Verona, but nowhere I think so much as in this city of Siena (as purely mediÆval as the suits of rusted armour which its townsfolk patch up and bury themselves in during their August pageants), we are subjected to receive impressions of the past so startlingly lifelike as to get quite interwoven with our impressions of the present; and from that moment the past must share, in a measure, some of the everyday thoughts which we give to the present. In such a city as this, the sudden withdrawal, by sacristan or beggar-crone, of the curtain from before an altar-piece is many a time much more than the mere displaying of a picture: it is the sudden bringing us face to face with the real life of the Renaissance. We have ourselves, perhaps not an hour before, sauntered through squares and dawdled beneath porticos like those which we see filled with the red-robed and plumed citizens and patricians, the Jews and ruffians whom Pinturicchio's parti-coloured men-at-arms are dispersing to make room for the followers of Aeneas Sylvius; or clambered up rough lanes, hedged in between oak woods and oliveyards, which we might almost swear were the very ones through which are winding Sodoma's cavalcades of gallantly dressed gentlemen, with their hawks and hounds, and negro jesters and apes and beautiful pages, cantering along on shortnecked little horses with silver bits and scarlet trappings, on the pretence of being the Kings from the East, carrying gold and myrrh to the infant Christ. It seems as if all were astoundingly real, as if, by some magic, we were actually going to mix in the life of the past. But it is in reality but a mere delusion, a deceit like those dioramas which we have all been into as children, and where, by paying your shilling, you were suddenly introduced into an oasis of the desert, or into a recent battle-field: things which surprised us, real palm trunks and Arabian water jars, or real fascines and cannon balls, lying about for us to touch; roads opening on all sides into this simulated desert, through this simulated battle-field. So also with these seeming realities of Renaissance life. We can touch the things scattered on the foreground, can handle the weapons, the furniture, the books and musical instruments; we can see, or think we see, most plainly the streets and paths, the faces and movements of that Renaissance world; but when we try to penetrate into it, we shall find that there is but a slip of solid ground beneath us, that all around us is but canvas and painted wall, perspectived and lit up by our fancy; and that when we try to approach to touch one of those seemingly so real men and women, our eyes find only daubs of paint, our hands meet only flat and chilly stucco. Turn we to our books, and seek therein the spell whereby to make this simulacrum real; and I think the plaster will still remain plaster, the stones still remain stone. Out of the Renaissance, out of the Middle Ages, we must never hope to evoke any spectres which can talk with us and we with them; nothing of the kind of those dim but familiar ghosts, often grotesque rather than heroic, who come to us from out of the books, the daubed portraits of times nearer our own, and sit opposite us, making us laugh, and also cry, with humdrum stories and humdrum woes so very like our own. No; such ghosts the Renaissance has not left behind it. From out of it there come to us no familiars. They are all faces—those which meet us in the pages of chronicles and in the frames of pictures: they are painted records of the past—we may understand them by scanning well their features, but they cannot understand, they cannot perceive us. Such, when all is said, are my impressions of the Renaissance. The moral atmosphere of those days is as impossible for us to breathe as would be the physical atmosphere of the moon: could we, for a moment, penetrate into it, we should die of asphyxia. Say what we may against both Protestant reformation and Catholic reaction, these two began to make an atmosphere (pure or foul) different from that of the Middle Ages and the Renaissance, an atmosphere in which lived creatures like ourselves, into which ourselves might penetrate.

A crotchet this, perhaps, of my own; but it is my feeling, nevertheless. The Renaissance is, I say again, no period out of which we must try and evoke ghostly companions. Let us not waste our strength in seeking to do so; but be satisfied if it teaches us strange truths, scientific and practical; if its brilliant and solemn personalities, its bright and majestic art can give us pleasure; if its evils and wrongs, its inevitable degradation, can move us to pity and to indignation.

Siena, September, 1882.