But the discoveries made with regard to man were not confined to the spiritual characteristics of individuals and nations; his outward appearance was in Italy the subject of an entirely different interest from that shown in it by northern peoples.
Of the position held by the great Italian physicians with respect to the progress of physiology, we cannot venture to speak; and the artistic study of the human figure belongs, not to a work like the present, but to the history of art. But something must here be said of that universal education of the eye, which rendered the judgment of the Italians as to bodily beauty or ugliness perfect and final.
On reading the Italian authors of that period attentively, we are astounded at the keenness and accuracy with which outward features are seized, and at the completeness with which personal appearance in general is described. Even today the Italians, and especially the Romans, have the art of sketching a man's picture in a couple of words. This rapid apprehension of what is characteristic is an essential condition for detecting and representing the beautiful. In poetry, it is true, circumstantial description may be a fault, not a merit, since a single feature, suggested by deep passion or insight, will often awaken in the reader a far more powerful impression of the figure described. Dante gives us nowhere a more splendid idea of his Beatrice than where he only describes the influence which goes forth from her upon all around. But here we have not to treat particularly of poetry, which follows its own laws and pursues its own ends, but rather of the general capacity to paint in words real or imaginary forms.
In this Boccaccio is a master -- not in the 'Decameron,' where the character of the tales forbids lengthy description, but in the romances, where he is free to take his time. In his 'Ameto' he describes a blonde and a brunette much as an artist a hundred years later would have painted them -- for here, too, culture long precedes art. In the account of the brunette -- or, strictly speaking, of the less blonde of the two -- there are touches which deserve to be called classical. In the words 'la spaziosa testa e distesa' lies the feeling for grander forms, which go beyond a graceful prettiness; the eyebrows with him no longer resemble two bows, as in the Byzantine ideal, but a single wavy line; the nose seems to have been meant to be aquiline; the broad, full breast, the arms of moderate length, the effect of the beautiful hand, as it lies on the purple mantle -- all this foretells the sense of beauty of a coming time, and unconsciously approaches to that of classical antiquity. In other descriptions Boccaccio mentions a flat (not medievally rounded) brow, a long, earnest, brown eye, and round, not hollowed neck, as well as -- in a very modern tone -- the 'little feet' and the 'two roguish eyes' of a black-haired nymph.
Whether the fifteenth century has left any written account of its ideal of beauty, I am not able to say. The works of the painters and sculptors do not render such an account as unnecessary as might appear at first sight, since possibly, as opposed to their realism, a more ideal type might have been favored and preserved by the writers. In the sixteenth century Firenzuola came forward with his remarkable work on female beauty. We must clearly distinguish in it what he had learned from old authors or from artists, such as the fixing of proportions according to the length of the head, and certain abstract conceptions. What remains is his own genuine observation, illustrated with examples of women and girls from Prato. As his little work is a kind of lecture, delivered before the women of this city -- that is to say, before very severe critics -- he must have kept pretty closely to the truth. His principle is avowedly that of Zeuxis and of Lucian -- to piece together an ideal beauty out of a number of beautiful parts. He defines the shades of color which occur in the hair and skin, and gives to the 'biondo' the preference, as the most beautiful color for the hair, understanding by it a soft yellow, inclining to brown.
Continued on page two.
The Civilization of the Renaissance in Italy
by Jacob Burckhardt
Part Four: The Discovery of the World and of Man
Chapter 6 - Description of the Outward Man: 1 2
Chapter 5 <<< Contents >>> Chapter 7
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