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PAGE 5

The Truth of Masks – A Note On Illusion
by [?]

Indeed, anybody who cares to examine the age of Shakespeare will see that archaeology was one of its special characteristics. After that revival of the classical forms of architecture which was one of the notes of the Renaissance, and the printing at Venice and elsewhere of the masterpieces of Greek and Latin literature, had come naturally an interest in the ornamentation and costume of the antique world. Nor was it for the learning that they could acquire, but rather for the loveliness that they might create, that the artists studied these things. The curious objects that were being constantly brought to light by excavations were not left to moulder in a museum, for the contemplation of a callous curator, and the ennui of a policeman bored by the absence of crime. They were used as motives for the production of a new art, which was to be not beautiful merely, but also strange.

Infessura tells us that in 1485 some workmen digging on the Appian Way came across an old Roman sarcophagus inscribed with the name ‘Julia, daughter of Claudius.’ On opening the coffer they found within its marble womb the body of a beautiful girl of about fifteen years of age, preserved by the embalmer’s skill from corruption and the decay of time. Her eyes were half open, her hair rippled round her in crisp curling gold, and from her lips and cheek the bloom of maidenhood had not yet departed. Borne back to the Capitol, she became at once the centre of a new cult, and from all parts of the city crowded pilgrims to worship at the wonderful shrine, till the Pope, fearing lest those who had found the secret of beauty in a Pagan tomb might forget what secrets Judaea’s rough and rock-hewn sepulchre contained, had the body conveyed away by night, and in secret buried. Legend though it may be, yet the story is none the less valuable as showing us the attitude of the Renaissance towards the antique world. Archaeology to them was not a mere science for the antiquarian; it was a means by which they could touch the dry dust of antiquity into the very breath and beauty of life, and fill with the new wine of romanticism forms that else had been old and outworn. From the pulpit of Niccola Pisano down to Mantegna’s ‘Triumph of Caesar,’ and the service Cellini designed for King Francis, the influence of this spirit can be traced; nor was it confined merely to the immobile arts–the arts of arrested movement–but its influence was to be seen also in the great Graeco-Roman masques which were the constant amusement of the gay courts of the time, and in the public pomps and processions with which the citizens of big commercial towns were wont to greet the princes that chanced to visit them; pageants, by the way, which were considered so important that large prints were made of them and published–a fact which is a proof of the general interest at the time in matters of such kind.

And this use of archaeology in shows, so far from being a bit of priggish pedantry, is in every way legitimate and beautiful. For the stage is not merely the meeting-place of all the arts, but is also the return of art to life. Sometimes in an archaeological novel the use of strange and obsolete terms seems to hide the reality beneath the learning, and I dare say that many of the readers of Notre Dame de Paris have been much puzzled over the meaning of such expressions as la casaque a mahoitres, les voulgiers, le gallimard tache d’encre, les craaquiniers, and the like; but with the stage how different it is! The ancient world wakes from its sleep, and history moves as a pageant before our eyes, without obliging us to have recourse to a dictionary or an encyclopaedia for the perfection of our enjoyment. Indeed, there is not the slightest necessity that the public should know the authorities for the mounting of any piece. From such materials, for instance, as the disk of Theodosius, materials with which the majority of people are probably not very familiar, Mr. E. W. Godwin, one of the most artistic spirits of this century in England, created the marvellous loveliness of the first act of Claudian, and showed us the life of Byzantium in the fourth century, not by a dreary lecture and a set of grimy casts, not by a novel which requires a glossary to explain it, but by the visible presentation before us of all the glory of that great town. And while the costumes were true to the smallest points of colour and design, yet the details were not assigned that abnormal importance which they must necessarily be given in a piecemeal lecture, but were subordinated to the rules of lofty composition and the unity of artistic effect. Mr. Symonds, speaking of that great picture of Mantegna’s, now in Hampton Court, says that the artist has converted an antiquarian motive into a theme for melodies of line. The same could have been said with equal justice of Mr. Godwin’s scene. Only the foolish called it pedantry, only those who would neither look nor listen spoke of the passion of the play being killed by its paint. It was in reality a scene not merely perfect in its picturesqueness, but absolutely dramatic also, getting rid of any necessity for tedious descriptions, and showing us, by the colour and character of Claudian’s dress, and the dress of his attendants, the whole nature and life of the man, from what school of philosophy he affected, down to what horses he backed on the turf.