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Mark Twain > A Tramp Abroad > Chapter L

A Tramp Abroad

Chapter L


[Titian Bad and Titian Good]

I wonder why some things are? For instance, Art is allowed
as much indecent license today as in earlier times--
but the privileges of Literature in this respect have been
sharply curtailed within the past eighty or ninety years.
Fielding and Smollett could portray the beastliness
of their day in the beastliest language; we have plenty
of foul subjects to deal with in our day, but we are
not allowed to approach them very near, even with nice
and guarded forms of speech. But not so with Art.
The brush may still deal freely with any subject,
however revolting or indelicate. It makes a body ooze
sarcasm at every pore, to go about Rome and Florence and see
what this last generation has been doing with the statues.
These works, which had stood in innocent nakedness for ages,
are all fig-leaved now. Yes, every one of them.
Nobody noticed their nakedness before, perhaps; nobody can
help noticing it now, the fig-leaf makes it so conspicuous.
But the comical thing about it all, is, that the fig-leaf
is confined to cold and pallid marble, which would be still
cold and unsuggestive without this sham and ostentatious
symbol of modesty, whereas warm-blood paintings which do
really need it have in no case been furnished with it.

At the door of the Uffizzi, in Florence, one is confronted
by statues of a man and a woman, noseless, battered, black with
accumulated grime--they hardly suggest human beings--
yet these ridiculous creatures have been thoughtfully and
conscientiously fig-leaved by this fastidious generation.
You enter, and proceed to that most-visited little
gallery that exists in the world--the Tribune--and there,
against the wall, without obstructing rag or leaf,
you may look your fill upon the foulest, the vilest,
the obscenest picture the world possesses--Titian's Venus.
It isn't that she is naked and stretched out on a bed--no,
it is the attitude of one of her arms and hand. If I
ventured to describe that attitude, there would be a fine
howl--but there the Venus lies, for anybody to gloat
over that wants to--and there she has a right to lie,
for she is a work of art, and Art has its privileges.
I saw young girls stealing furtive glances at her; I saw
young men gaze long and absorbedly at her; I saw aged,
infirm men hang upon her charms with a pathetic interest.
How I should like to describe her--just to see what a holy
indignation I could stir up in the world--just to hear
the unreflecting average man deliver himself about my
grossness and coarseness, and all that. The world says
that no worded description of a moving spectacle is
a hundredth part as moving as the same spectacle seen
with one's own eyes--yet the world is willing to let its
son and its daughter and itself look at Titian's beast,
but won't stand a description of it in words.
Which shows that the world is not as consistent as it
might be.

There are pictures of nude women which suggest no impure
thought--I am well aware of that. I am not railing
at such. What I am trying to emphasize is the fact that
Titian's Venus is very far from being one of that sort.
Without any question it was painted for a bagnio and it
was probably refused because it was a trifle too strong.
In truth, it is too strong for any place but a public
Art Gallery. Titian has two Venuses in the Tribune;
persons who have seen them will easily remember which one I am
referring to.

In every gallery in Europe there are hideous pictures
of blood, carnage, oozing brains, putrefaction--pictures
portraying intolerable suffering--pictures alive
with every conceivable horror, wrought out in dreadful
detail--and similar pictures are being put on the canvas
every day and publicly exhibited--without a growl from
anybody--for they are innocent, they are inoffensive,
being works of art. But suppose a literary artist ventured
to go into a painstaking and elaborate description
of one of these grisly things--the critics would skin
him alive. Well, let it go, it cannot be helped;
Art retains her privileges, Literature has lost hers.
Somebody else may cipher out the whys and the wherefores
and the consistencies of it--I haven't got time.

Titian's Venus defiles and disgraces the Tribune, there is
no softening that fact, but his "Moses" glorifies it.
The simple truthfulness of its noble work wins the heart
and the applause of every visitor, be he learned or ignorant.
After wearying one's self with the acres of stuffy,
sappy, expressionless babies that populate the canvases
of the Old Masters of Italy, it is refreshing to stand
before this peerless child and feel that thrill which tells
you you are at last in the presence of the real thing.
This is a human child, this is genuine. You have seen him
a thousand times--you have seen him just as he is here--
and you confess, without reserve, that Titian WAS a Master.
The doll-faces of other painted babes may mean one thing,
they may mean another, but with the "Moses" the case
is different. The most famous of all the art-critics
has said, "There is no room for doubt, here--plainly this
child is in trouble."

I consider that the "Moses" has no equal among the works
of the Old Masters, except it be the divine Hair Trunk
of Bassano. I feel sure that if all the other Old Masters
were lost and only these two preserved, the world would
be the gainer by it.

My sole purpose in going to Florence was to see this
immortal "Moses," and by good fortune I was just in time,
for they were already preparing to remove it to a more
private and better-protected place because a fashion
of robbing the great galleries was prevailing in Europe
at the time.

I got a capable artist to copy the picture; Pannemaker,
the engraver of Dor'e's books, engraved it for me,
and I have the pleasure of laying it before the reader
in this volume.

We took a turn to Rome and some other Italian cities--
then to Munich, and thence to Paris--partly for exercise,
but mainly because these things were in our projected program,
and it was only right that we should be faithful to it.

From Paris I branched out and walked through Holland and Belgium,
procuring an occasional lift by rail or canal when tired,
and I had a tolerably good time of it "by and large."
I worked Spain and other regions through agents to save
time and shoe-leather.

We crossed to England, and then made the homeward
passage in the Cunarder GALLIA, a very fine ship.
I was glad to get home--immeasurably glad; so glad,
in fact, that it did not seem possible that anything
could ever get me out of the country again. I had not
enjoyed a pleasure abroad which seemed to me to compare
with the pleasure I felt in seeing New York harbor again.
Europe has many advantages which we have not, but they
do not compensate for a good many still more valuable
ones which exist nowhere but in our own country.
Then we are such a homeless lot when we are over
there! So are Europeans themselves, for the matter.
They live in dark and chilly vast tombs--costly enough,
maybe, but without conveniences. To be condemned to live
as the average European family lives would make life
a pretty heavy burden to the average American family.

On the whole, I think that short visits to Europe are
better for us than long ones. The former preserve us from
becoming Europeanized; they keep our pride of country intact,
and at the same time they intensify our affection for our
country and our people; whereas long visits have the effect
of dulling those feelings--at least in the majority
of cases. I think that one who mixes much with Americans
long resident abroad must arrive at this conclusion.

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