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diff --git a/43171-0.txt b/43171-0.txt index ce4ae58..c4e6f79 100644 --- a/43171-0.txt +++ b/43171-0.txt @@ -1,36 +1,4 @@ -The Project Gutenberg EBook of Antonio Canova (1757-1822), by Adolfo Venturi - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Antonio Canova (1757-1822) - La vita italiana durante la Rivoluzione francese e l'Impero - -Author: Adolfo Venturi - -Release Date: July 9, 2013 [EBook #43171] - -Language: Italian - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ANTONIO CANOVA (1757-1822) *** - - - - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 43171 *** LA VITA ITALIANA @@ -532,366 +500,4 @@ annotazione minimi errori tipografici. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Antonio Canova (1757-1822) - La vita italiana durante la Rivoluzione francese e l'Impero - -Author: Adolfo Venturi - -Release Date: July 9, 2013 [EBook #43171] - -Language: Italian - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ANTONIO CANOVA (1757-1822) *** - - - - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - - LA - VITA ITALIANA - - DURANTE LA - Rivoluzione francese e l'Impero - - - _Conferenze tenute a Firenze nel 1896_ - - DA - - Cesare Lombroso, Angelo Mosso, Anton Giulio Barrili, - Vittorio Fiorini, Guido Pompilj, Francesco Nitti, - E. Melchior de Vogüé, Ferdinando Martini, Ernesto Masi, - Giuseppe Chiarini, Giovanni Pascoli, Adolfo Venturi, - Enrico Panzacchi. - - - - MILANO - FRATELLI TREVES, EDITORI - - 1897. - - - - - PROPRIETÀ LETTERARIA - - _Riservati tutti i diritti_. - - Tip. Fratelli Treves. - - - - - ANTONIO CANOVA - (1757-1822) - - E L'ARTE DE' SUOI TEMPI - - - CONFERENZA - DI - - ADOLFO VENTURI. - - - - -L'arte italiana, verso la metà del secolo XVI, era stata vinta -dall'antichità classica; e la sua natura male traspariva sotto il peso -delle corazze e degli elmi, il viluppo delle clamidi e dei pepli. Non -parlava più nell'idioma di Dante, non diceva nella lingua del popolo; -perchè dai fòri, dai templi, dalle terme una folla di statue era uscita -come una fuga di bianche ombre a inaridire il suolo toccato dai loro -calzari. La tradizione cristiana e le forme neo-latine cessarono; e -l'imitazione dell'antico determinò un'arte tutta a formule grammaticali, -entro cui più non era l'anima illuminata dalla fede, lo spirito della -vita nuova. Passarono il nuovo Achille chiomato, coi muscoli gonfi, la -testa incassata nell'elmo; Ercole poderoso e Bacco ubbriaco, ma tutti -quegli eroi, quei Semidei e quegli Dei rivissero in una cerchia angusta, -senz'aria. Il popolo li aveva dimenticati, elaborando le immagini della -Vergine, del Cristo e dei Santi; e l'umanesimo che li aveva scavati, non -s'era accorto di dare alla luce mummie, non corpi vivi. - -La maschera antica rimase confitta sulla faccia dell'arte lungo il -secolo XVII, benchè i barocchi ne torcessero in un ghigno le labbra, e -la sciupassero ognor più nelle loro gazzarre carnevalesche. La maschera -apparve tra i blocchi di marmo, i dirupi di macigno e i torrenti di -bronzo; e intanto nelle magnifiche pompe, ne' meravigliosi apparati da -festa, nell'aggrovigliarsi di giganti, nel ritorcersi de' colonnati dei -curvi edifici, non v'era rifugio per l'anima in cerca di pace e di -affetti. Giunto il secolo XVIII, l'arte si immiserisce, si gingilla, -prende gaie proporzioni minori, si attorciglia com'edera, si volve a mo' -di chiocciola, si rompe in ischegge, esce in isprizzi, si riversa nelle -cascatelle d'Arcadia. E le figure umane perdono le ossa, e si -sprigionano con le chiome al vento, e le braccia in atteggiamento -sgangherato o convulso, da enormi cappe di marmo, o tra roccie e nuvoli. -Allora fu che l'antichità classica attrasse di nuovo, come sirena a' -suoi amplessi, l'artista moderno. Benedetto XIV dal trono bandiva la -crociata per il classicismo; e Winckelmann suonava a raccolta intorno ai -simulacri greco-romani. Tutta l'arte ricadde nell'imitazione! Quando, -verso la metà del secolo XVI, era avvenuto lo stesso fenomeno del -sopraccaricarsi dell'antico sul nuovo, l'arte, già arrivata al massimo -grado di sviluppo e prossima a ingrandire e a gonfiare, pareva -continuare le forme precedenti, pure impregnandosi delle forme romane -imperiali; ma nel secolo XVIII l'antico entra bruscamente in mezzo alla -folla de' cicisbei. L'allegria era finita, il chiasso e le monellerie -dovevano cessare, perchè s'avanzava con grave cipiglio, severo, -altezzoso il vecchio tiranno. Proprio allora che l'arte, senza idealità, -si volgeva alla vita sociale, rifacendone le smorfie, ripetendone gli -scrosci di risa, riflettendone la caricatura, ma pure trovando un tesoro -di osservazioni e di verità tra le mani di Watteau, dei Longhi e di -Chodowjecki, di Leon Ghezzi, di Hogarth e Goya, sopraggiunsero -l'erudizione, la filosofia, la scienza ad arrestare l'arte che dalla -natura traeva nuove forze e fiori di bellezza. Il grave Mengs richiamò -in onore i principî dei Carracci; e Winckelmann col suo entusiasmo -ideale per la bellezza antica, stringeva tutti in ammirazione innanzi -alla civiltà che a Pompei, ad Ercolano risorgeva come fenice dalle -ceneri. - -Allora fu che il Canova (nato l'anno 1757), moveva i primi passi -nell'arte, e meditava sui gessi cavati da opere d'arte greca e romana -nella galleria Farsetti a Venezia; e sentiva come lo studio del nudo -fosse per la scultura la rigenerazione. Il giovinetto però, come un uomo -del Medioevo, a cui la bellezza ignuda era causa di terrore e di -scrupolo, opera dello spirito del male, scrive sotto l'Euridice studiata -dal vero: _memento mori!_ La mano di una Furia esce dalle vampe che si -innalzano ai piedi della figura, e le afferra la destra per trarla nel -Tartaro. Così l'arte voleva spiegare ciò che un antico non aveva d'uopo, -e svelava l'allegoria, senz'accorgersi che, tolto il velo, doveva -ricorrere, come nel Medioevo, ai cartellini, ai nastri con le scritte, -ai segni ideografici, ai simboli. L'imitazione dell'antico non poteva -farsi senza commenti e dilucidazioni, perchè il pubblico, non avvinto -dalla tradizione alla classica civiltà tanto differente dalla sua, non -la capiva più. Vero è che il Canova fu aiutato dal senso vivissimo della -realtà, dalla sincera natura di veneto, nel tradurre, e specialmente in -giovinezza, i soggetti mitologici; e se nel suo primo lavoro dell'Orfeo -e Euridice, compiuto a sedici anni, traspaiono la titubanza e -l'inesperienza dell'adolescente, nel successivo gruppo d'Icaro e Dedalo -è una vivezza naturalistica tutta nuova. Dedalo sta per annodare un'ala -al figlio giovinetto, ad Icaro, e gli raccomanda con paterno amore di -tenersi lontano dai vapori delle onde e dal sole cocente, e lo fissa -ansioso in volto; ed egli abbassa gli occhi, quasi per nascondere il -desiderio di sollevarsi a volo audace. Tuttavia anche qui il Canova -volle indicare con diligenza il modo di allacciatura dell'ala, le corde, -gli strumenti fabbrili, tutto il meccanismo dell'operazione di Dedalo. -Sempre così tra i moderni, quando l'arte esprime idee de' tempi lontani -dalla nostra vita materiale, intellettuale e sociale, e, nonostante -tutti quei particolari a schiarimento della rappresentazione e i -richiami simbolici, non riesce a raccontare ai molti, e ai retori parla, -e coi retori vive. Mentre nel Rinascimento, dopo la grande diffusione -della cultura classica per opera degli Umanisti, era possibile innanzi -alle forme ricavate dall'antico che arte e pubblico si intendessero, -nella seconda metà del secolo XVIII non era possibile più; perciò l'arte -andava perdendo il suffragio popolare, e si rivolgeva ai pochi che -vivevano nelle biblioteche. E come smarriva il suo fine, perdeva pure il -suo fondamento e il punto d'appoggio nell'architettura. Quei gruppi, -quelle statue, che si reggono artificialmente, fuori dalle nicchie e -dagli intercolonnî, dagli edificî e dalle piazze, sembrano mancare di -tetto, di parenti, di patria. Quando l'arte era il frutto spontaneo -della civiltà italiana, serviva sempre agli usi della vita, al decoro -della casa, del palazzo signorile, della chiesa e del comune, e aveva la -sua destinazione pratica, coordinata ad altre cose belle e grandi. Sul -limitare del secolo nostro invece ogni arte vive a sè, senza il suo -sfondo naturale, separata da ciò che l'attornia, nell'astrazione. La -formula dell'arte per l'arte, formula di collettori egoisti e di spiriti -gretti e sterili, già si determina, e spezza l'armoniosa unità delle -arti. In quel tempo di disgregamento nelle forme e di sfacelo negli -ideali, il Canova si afferrò all'antico, come ad àncora di salvezza, -illuso come gli altri del suo tempo, anzi più d'ogni altro, che si -potesse ridare la vita ad una salma. Per raggiungere il suo scopo di -sollevare a dignità l'arte, egli agognava di recarsi a Roma, e vi si -recò infatti a ventidue anni. Alla sua immaginazione di artista, le -rovine di Roma, opera di giganti, gli archi sotto cui passavano nelle -quadrighe i trionfatori, i colossi che sembrano come atlanti sollevare -la terra, esercitarono un influsso potente, un imperio, come e più che -sugli altri artisti di ogni età. Il Canova rimaneva lungamente innanzi -ai Dioscuri del Quirinale, forte animatissima riproduzione romana di un -gruppo greco, e all'Apollo del Belvedere, buona copia d'un bronzo -antico, che Winckelmann additava, come esemplare solenne della bellezza -classica. Quelle traduzioni e copie, e le altre di opere greche eseguite -in Roma, dopo l'ultimo secolo della Repubblica, non potevano fornire un -vero saggio della idealità e del purissimo sentimento della bellezza -greca, perchè erano come studiate pagine di prosa traducenti un canto -immortale. E quelle pagine erano anche guaste, e cioè i restauri avevano -falsato il carattere di quei marmi, e la tarda levigazione ne aveva -sfiorata la modellatura. Da quelle statue dei Dioscuri e dell'Apollo era -possibile ricavare de' canoni, come fece il Canova, e non penetrare -nell'intimità, nel carattere della forma, nell'anima dell'arte greca, e -discoprire il diapason più perfetto della bellezza. Le copie, anche -fedeli ed antiche, mancano del sentimento dell'opera originale, ne -rendono le proporzioni, non tutto lo spirito del suo creatore, non il -vivo tocco della sua mano, non la diretta e pronta osservazione della -natura e della vita. Oltracciò nella copia traluce sempre il carattere -dell'esecutore, e si manifestano le abitudini della sua mano e le -predilezioni del suo gusto. Nelle copie romane di opere greche la -fattura è meno sottile, il costume più pomposo, la ricerca del -particolare più insistente. E quante idealità dovettero venir meno nelle -copie, quanti segni che sembrarono insignificanti, ed erano invece i -segni delle aspirazioni di un popolo! Chi direbbe, ad esempio, che -l'artista il quale dia alla Vergine neri e non biondi i capelli, -distrugge l'idealità bionda della bellezza muliebre nel mondo classico; -la idealità della bellezza di Afrodite, bionda come il fulgore -dell'aurora rappresentata dalla dea? Non si tratta di sottigliezze, no! -Un'opera d'arte non si rifà, non si traduce, senza scemarne l'essenza e -farne svanire il profumo. D'altronde innanzi al Canova erano -principalmente copie romane, le libere patetiche figure della decadenza -ellenica, e quelle dell'epoca alessandrina in cui la grandiosità della -forma muscolare, la complessa ingegnosità della composizione, la -violenza della espressione, non avrebbero dovuto servire di modello alle -generazioni nuove. Tutta l'arte del Cinquecento stette attonita innanzi -al gruppo rodiese del Laocoonte, lo copiò, ne fece suo sangue; e la -Decadenza si affrettò. E l'arte che stava innanzi ai Dioscuri e -all'Apollo del Belvedere nella seconda metà del secolo XVIII doveva -preferire i Caracci al Mantegna, le opere dell'inoltrato Rinascimento -alle più gentili creazioni, alle più ingenue e candide forme del secolo -decimoquinto. Innanzi ai Dioscuri ed all'Apollo, il Canova disconosceva -i suoi Veneziani, che, a suo dire, avrebbero pensato e composto meglio -se fossero stati a Roma, quasi che Gian Bellino e Giorgione, Tiziano e -Paolo non giungessero nella forma alle maggiori altezze, e quasi che, -col guardare all'antico, Pietro Lombardo, nella scultura, avesse -guadagnato di cavalleresca eleganza nel rappresentare i _zentilomeni_ -della Serenissima e Alessandro Vittoria di energia nel rendere i -veneziani lupi di mare. Ma il Canova aveva detto a sè medesimo che -conveniva vedere "la natura con l'occhio dell'antico", mentre non era -possibile veder bene a traverso quella lente d'ingrandimento e per -soprappiù impura. A persuaderlo tuttavia di guardare a quel modo -concorse Gavino Hamilton di Scozia, a cui il Canova, che lo incontrò a -Roma, portò affetto e stima come a Mentore suo. Eppure quando si vedono -nel museo della Villa Borghese le pitture di Gavino Hamilton vaporose, -violacee, false, non si riesce a comprendere quale strana aberrazione di -idee e di gusto fosse a Roma nell'anno di grazia 1780. Forse la mano -dell'Hamilton non era docile al pensiero, e questo era assai più libero -e giusto di quella, a giudicare dall'opera _Schola picturæ italicæ_, ove -l'Hamilton raccolse, benchè con criteri eclettici, molti capilavori -dell'arte italiana. Avesse o no l'Hamilton un influsso sullo spirito del -Canova, egli è certo che, nonostante le regole che si imponeva e gli -esempi anche non buoni sotto gli occhi suoi, e mentre l'arte del suo -tempo pareva distruggere i corpi, il Canova d'un tratto, come per -incanto, diede alle sue figure un'apparenza logica e ritmica; una forma, -non più a strappi e a spezzature, ma svolgentesi, disegnantesi nello -spazio in una linea continua. Così nel monumento di papa Clemente XIV ai -Santi Apostoli in Roma; il quale quantunque ispirato ai mausolei de' -pontefici in San Pietro, in ispecial modo a quello di Alessandro VIII, -ha una linea che gira naturalmente, nobilmente dall'alto della piramide -del monumento giù per le cornici dell'urna e i corpi della Temperanza e -della Mansuetudine. La Temperanza si china in atto di abbandono sulla -tomba papale, immagine del dolore che il Canova figurò sulle sue stele -sepolcrali, segno della malinconia dell'anima sua. Il dolore della terra -circonda le tombe e i mausolei da lui scolpiti, non la speranza del -cielo. La Mansuetudine stessa con le mani incrocicchiate e china la -testa, medita sul triste destino, che tolse dalla terra il pontefice -venerato. Sempre nei monumenti sepolcrali ed onorarî del Canova, sembra -che il fato persegua il mortale, e non gli dia che eredità di dolori e -di lagrime. La immagine della Pietà, sculta dal Canova, è quella di una -madre addolorata, con le braccia cadenti, tutta avvolta nel velo; in -un'altra statua della Mansuetudine si vede una giovane meditabonda, -accasciata, quasi orba di affetti. In un gruppo Venere si strugge di -dolore appoggiata alla spalla di Adone; il genio funebre della tomba di -papa Rezzonico esala l'anima dagli occhi; passano, in un bassorilievo, -in lugubre ammanto Ecuba e le venerande donne di Troia; in un gruppo -Amore si abbandona sull'omero di Psiche tristemente; e nella tomba -dell'Alfieri piange l'Italia, in forma di Cibele, madre dei numi; si -recano lagrimanti al mausoleo di Cristina d'Austria arciduchessa, le -Vestali e le Età; portansi i drappi ai volti o le mani alla fronte le -fanciulle allegoriche dei monumenti di Volpato, di Falier, del conte di -Souze, del principe di Orange, della contessa d'Haro, dei Mellerio, del -conte Tadini, ecc. Mai sulle tombe aleggia la speranza; il dolore copre -di funebre manto i freddi marmi, e circonda la salma dei defunti: dolore -pacato però, blanda costernazione, lagrime tranquille, melanconia -diffusa nel marmo. Non roteano alle fanciulle gli occhi per ispasimo -sotto le palpebre, come ne' monumenti sepolcrali dei barocchi; ma nelle -tonde loro orbite cadono le ombre di lutto dalle sopracciglia. Clemente -XIV è in cattedra, stende il braccio e la mano protettrice sui fedeli. -Similmente, in molti mausolei papali del quattrocento in poi, il -pontefice appare anche nei sepolcri, fastoso come se fosse portato sulla -cattedra in trionfo, in pontificali paludamenti, con la tiara, e in atto -di benedire l'orbe cattolico; ma il Canova, a cui l'idea del fasto, -dell'impero parve non propria in un mausoleo, si attenne nel monumento -di papa Rezzonico al tipo di quello che si vede in San Pietro di -Alessandro VII, raffigurato in ginocchio come innanzi a un altare o alla -maestà dell'Eterno. Ed ecco il capolavoro del Canova, Papa Rezzonico che -mormora con tremule labbra la preghiera, tutt'assorto in Dio, mentre due -leoni posano nel basso, custodi della tomba sacra: l'uno con gli occhi -spalancati sembra mandare dalle aperte fauci un ruggito, l'altro china -la testa e chiude nelle grotte degli occhi le pupille di fuoco. Il Genio -antico con le ali di cigno tiene la face riversa; e la Religione, con la -croce nella destra s'avanza, e poggia la sinistra sul coperchio -dell'urna. Qui pienamente si manifesta la forza del Canova nella figura -del Papa e nei due leoni, mentre nel Genio funebre e nella Religione fu -schiavo delle convenzioni del tempo. La Religione sembra una fantasima -dalla smisurata fronte traforata da spilloni, col manto che come un -baldacchino la ricopre e con la veste pesante come un materasso e la -sottoveste per giunta. Quanto lontana l'allegoria dalla Religione che il -Canova vide nel quadro di Tiziano al palazzo ducale in Venezia, giovane, -ardente, con le auree chiome sparse, nel fulgore della luce! La sua è -invece sopraccarica di simboli, reca una scritta sulla benda che le -traversa la fronte, un'altra sulla cintura, i raggi sul capo come la -figura del Sole nel medioevo, la croce come una Sant'Elena. Anche negli -antichi monumenti vi furono figure allegoriche, pazientemente -elaboratesi nei secoli, come le Arti liberali e le Virtù; ma i loro -simboli erano nel comune linguaggio, e non erano d'impaccio all'artista -nel rendere l'espressione delle figure, mentre l'allegoria nuova non -dall'intimità del sentimento, ma dall'apparenza traeva il valore, la -ragione d'essere, epperò rimaneva un logogrifo scolpito. In altro modo -si allontanano dall'arte moderna il genio funebre con la face riversa, -la Speranza e la Carità in veste romana, a bassorilievo nell'urna di -Papa Rezzonico: esse appartengono a un mondo immaginario, lontano da -quello ove il Papa rivolge il pensiero al cielo, e sono fuor di posto in -quel luogo sacro alla fede. - -Questi errori si dimenticano, quando si guardi Clemente XIII nel -raccoglimento della preghiera, nell'augusta solennità pontificale e -nella semplicità dell'anima pia, e quando si scorga lo studio posto dal -Canova nell'opera. Vi è l'accuratezza straordinaria dell'artefice che -rende il lustro piviale di broccato, le pieghe fitte del camice, il -manto serico del genio e le sue ali leggiere di cigno, la criniera -arruffata del re della foresta e i suoi unghioni lucenti e il pelo del -corpo e le narici umide e fumose. Gli scalpelli, i trapani, le gradine -gareggiano nel rendere al vero le superfici dolci o scabre, opache o -lucenti; e nel tempo in cui la scultura pareva rendere i corpi di -bambagia o di porcellana, il Canova, col variare dei mezzi tecnici e -degli effetti, secondo la natura e la scorza e il carattere delle cose, -segna il principio di un'êra nuova. - -Ma il connubio dell'antico col nuovo, al limitare del secolo XIX, era -fantasia di eruditi, non una pratica ricerca. Il genio funebre del -mausoleo di Papa Rezzonico riapparirà nei monumenti Mellerio, Stuart e -in altri; la Carità e la Speranza scolpite in bassorilievo sull'urna -papale, ingrandiranno e sul _lectus_, sulla _sella_, sul _bisellium_ -classici diverranno i prototipi delle canoviane rappresentazioni; ma il -nuovo sparirà sempre più. La mescolanza ineguale dell'antico col nuovo, -che forma la figura della Religione, finirà col predominio dell'antico -in un tutto più finito e più equilibrato, ma anche più materiale e più -gelido. - -Il mutarsi delle condizioni sociali e dei costumi favorì il predominio. -I nomi degli eroi di Plutarco erano sulle labbra dei cittadini; Bruto -riviveva nella rettorica repubblicana; le dame vestivano -archeologicamente con le vesti alla Diana, le tuniche alla Minerva, i -veli alla Vestale. Chaussard poteva descrivere l'Olimpo pagano disceso -al parco di _Bagatelle_, seguire i passi di Ebe, cadere in ginocchio -innanzi a Venere, adorare le Grazie, ammirare Giunone, sfogliare le rose -di Flora. L'arte romana e l'arte greca erano di moda dovunque, -trionfavano col David in Francia, nel 1783 al Salon, col quadro degli -Orazi, nel 1789 coi quadri di Bruto e di Paride con Elena; si -affermavano con lo scultore Julien, autore della Galatea e del -Gladiatore morente, e con Moitte, Roland e Chaudet. Il David ed il -Canova, capi riconosciuti del movimento artistico, non vedono altro che -gli eroi e gli Dei del mondo antico, e non trattano soggetti cristiani. -Uno solo di questi piacque invero al Canova, che più volte lo ripetè, la -Maddalena penitente, ma perchè si prestava allo studio del nudo che il -Cristianesimo in genere voleva bandito. Nel panteon della storia il -David come il Canova scelsero le figure e le gesta dei Grandi da -scolpire: Luigi David talora per adombrare in esse gli uomini l'opera -della Rivoluzione francese, Antonio Canova per ricordare i canti di -Omero o per onorare la virtù. I bassorilievi rappresentanti la morte di -Priamo, Socrate che prende congedo da' suoi, Socrate che beve la cicuta, -Telemaco che ritorna ad Itaca, ed altri, si compongono di figure tutte -tagliate di profilo e rigide; nelle statue invece Canova talora ricorda -la grazia vaporosa, la dolcezza molle dei decadenti del secolo XVIII in -quella specie di abbandono, di stanchezza, di floscezza del marmo -levigato. La sensualità sua si esprime, più che in altra opera, -nell'Amore e Psiche, gruppo composto nel 1787. Amore solleva Psiche -nelle braccia, con una mano le regge il seno e con l'altra -carezzosamente la testa, la quale indietro si riversa, e volgesi con -occhi d'amore, con mormorii e baci a Cupido, mentre gli stende le -braccia intorno al capo a mo' di ghirlanda. Cupido avvicina le labbra -alle labbra di Psiche, e sospende il volo come farfalla sul calice d'un -fiore. - -Come si vede, il corpo nell'opera del Canova si disgombra dal carico -delle vesti e dalla soma dei drappi, secondo le teoriche del Mengs che -il nudo fosse il linguaggio proprio della scultura. Tanto parve naturale -quell'abbandono d'ogni spoglia nel marmo che al Denon, il quale accusava -lo scultore di aver effigiato nudo Napoleone, rispose Ennio Quirino -Visconti che il nudo meglio risveglia l'idea dell'eternità, non essendo -mutabile come il vestimento, e che sotto la forma angolare delle nostre -vesti il nudo non può indicarsi, come già si indicò sotto le pieghe del -pallio greco e della toga romana. Il nudo esce tornito, liscio, -accarezzato dalle mani del Canova, non sodo, senza vene ed arterie sotto -l'epidermide, e non libero come ne' tempi antichi, ma con la pudica cura -d'involarsi agli sguardi, tanto che la Venere di Canova della galleria -Pitti potrebbe sembrare Susanna che voglia nascondersi agli occhi dei -Vecchioni. - -L'alabastrina trasparenza dei corpi si assoggetta ai canoni del -Winckelmann nel profilo con la linea diritta della fronte e del naso, -nella fronte _brevis_ di Marziale o _tenuis_ di Orazio, nei capelli ad -arco concorrenti a formare l'ovale del volto, nelle ciglia sottili e nel -mento di rotondità graziosa. La fronte doveva essere uguale alla -lunghezza del naso e all'altro tratto, dalla estremità del naso al -limite del mento; e così via tutto il corpo umano era stretto nelle -formule, e intanto il carattere sotto quell'algebra del bello sparisce. - -Beatrice ritratta dal Canova sembra un'imperatrice velata. Laura ed -Eleonora nei busti che le raffigurano potrebbero sembrare -_merveilleuses_ del Direttorio, come Calliope, Erato, Elena, Corinna, -pure scolpite in busto dal Canova, e come quelle teste ideali di donna -che egli inviò in dono al conte Sommariva, al Quatremère de Quincy, al -duca di Wellington e ad altri, tutte con un'acconciatura del capo -studiatissima, tale che la Albrizzi lodava l'opera particolare del -maestro nel condurre in marmo la chioma d'una sua figlia ideale, appunto -perchè l'aveva dedicata alla Francia nella quale è sì ingegnoso lo -studio del calamistro. Ma niuna si distingue per alcun tratto -fisionomico o iconografico, per una particolare impronta o per -espressione nelle orbite ovali. Sono teste muliebri, alla romana o alla -greca, con le guance ammorbidite e i piani del volto tondeggianti e -lisci, con riccioli sulla fronte e le treccie ben pettinate e annodate; -ma non respirano e stanno in un'atmosfera fredda senza lampi di -pensiero. - -Il Canova nello scolpire ritratti dal vero, nello studio delle fisonomie -tanto varie e mobili, avrebbe richiamata la forza naturalistica della -sua tempra veneziana; ma egli rifuggì dal ritratto. "Si ricusò per -quanto potè, così scrive Antonio d'Este suo discepolo, di fare ritratti, -e se ne modellò o scolpì fu mosso sempre dall'affezione o da gravi -motivi." Come uno scultore degli Augusti, egli diede a' suoi personaggi -l'aspetto eroico o divino, chè i Romani avevano ridotta la Divinità, -così altamente ideale con Fidia, a prendere l'aspetto dei mortali. E -quindi Ferdinando I prese nell'opera del Canova le vestimenta di Marte, -l'elmo laureato, la corazza e il paludamento; Giorgio Washington, -"l'amico del genere umano," sembrò Cesare intento a scrivere i suoi -commentarii; l'imperatrice Maria Luigia divenne l'immagine della -Concordia diademata, con lungo scettro nella destra e una patera nella -sinistra; Leopoldina Esterhazy si atteggiò come una Musa sul Parnaso, -Paolina Borghese in guisa di Venere vincitrice, Maria Elisa, principessa -di Lucca, come la Musa Polinnia; Letizia Bonaparte ricordò Agrippina, e -Napoleone I parve Cesare Augusto con asta nella destra e il globo -sormontato dalla Vittoria alata. - -Due grandi specie formano, all'infuori de' ritratti e de' monumenti -sepolcrali, le opere del Canova: le une erano una reminiscenza di -Arcadia, e rappresentano immagini già preferite nell'adornamento di -salotti, di alcove e di giardini, e quindi Danzatrici, Grazie, Veneri, -Endimioni; le altre, grandi esercitazioni accademiche, ricercano la -forza dei Dioscuri del Quirinale, e sono le figure tragiche dell'Ercole -che scaglia Lica, Perseo, Ettore, Aiace, Damosseno e Grengante, Teseo -vincitore del Centauro. Le due specie di opere esprimono le due tendenze -dell'arte al principio del secolo XIX, l'una si ispira alla molle grazia -dei barocchi; l'altra alla forza guerresca che per le vittorie -napoleoniche balenava sulla terra. Ma le une e le altre opere non -avevano sale di terme o di palazzi imperiali da adornare, nè teatri e -circhi e fori ove campeggiare, nè aria, come al tempo antico, nei -cortili e porticati e bagni della casa. Era tutta un'arte che doveva -finire nei musei, perchè al di fuori lo spazio doveva essere conteso -dalla popolazione in aumento e spinta innanzi in fretta, sempre più in -fretta, dai bisogni della vita, dell'industria, de' commerci e dalla -commozione economica che scuote sempre più forte la società moderna. E -quando come a Monaco di Baviera, si trovò per caso strano, un re, Luigi -I, che con animo romano trasformò la città sua, i suoi edifici, le -statue dello Schwanthaler all'antica si posero in contrasto con le selve -d'abeti del luogo, con le tradizioni dell'arte locale tutta irta di -punte, le necessità e i sentimenti della vita moderna. L'arte non è -buona che quando nasce nei luoghi che adorna. L'arte antica è un albero -fossile che non può più dar fiori, non rallegrare di sua ombra gli -uomini; e cercare innesti a quell'albero fu vano tentativo, perchè le -linfe vivificanti non vi scorrono più per entro da secoli. - -Invano si tentò di costruire nuovi archi di trionfo e basiliche e teatri -di forma romana, come la Madeleine, la Bourse, l'arco di trionfo del -Carrousel: mancò la opulenza, e più il senso romano dell'imperio. Le -parti degli edifici corrisposero forse per misure, calcoli, segni di -compasso e di squadra all'antico; ma il tutto risultò meccanico, -materiale, scialbo, freddo. Tutto l'ornato girò in volute alla romana; -ma non ebbe colore, e cadde in forme identiche, calligrafiche, mancanti -di sentimento architettonico. E la pittura decorativa dell'Appiani a -Milano tentò richiamare in vita le grottesche delle terme romane e delle -case di Pompei; ma rimase pedantesca e senza significato nella sua -convenzionale eleganza. Tutta quell'arte doveva passare come una cometa -che abbia impedito di vedere il sole e di scaldarsi al sole; e lasciò -lunghi strascichi in una produzione artistica che mai la più misera, -della prima metà del secolo, tutta di manichini in vestiarii di latta e -di cartone. A chi guardi quell'arte tagliata nel legno o fusa nello -stagno, vedrà anche estollersi di lontano il Canova pieno di slancio per -la bellezza antica, lo vedrà meditare nei musei di Roma, patrocinarne i -diritti innanzi a Napoleone che li aveva impoveriti, cercare il riscatto -delle opere d'arte tolte dalla patria. Nel disfacimento dell'arte, la -grande anima sperò nell'antico, ed iniziò uno dei tanti ritorni verso le -civiltà passate che dal secolo XVI in poi sembrano fatali, ineluttabili. -Di quando in quando nel nostro mare le onde s'innalzano, e corrono -impetuose alle antiche rive, ove non sono più nè le Sirene, nè i -Tritoni, nè le Nereidi, nè i velli d'oro; e quelle onde s'acquetano e -tacciono in una morta gora. È fatale, e così sarà, fino a che l'arte -avrà strumenti logori e mezzi insufficienti e incerti ideali; l'arte -classica apparirà coi suoi esemplari eterni in un'aureola di luce. Primo -tra i suoi contemporanei il Canova vide quella luce, e ne fu abbagliato. -Quando alla fine del 1815, lo scultore, riscattati a Parigi i tesori -d'Italia, visitò Londra, e si vide innanzi i marmi del Partenone, le -trionfali feste Panatenaiche di Fidia e della sua scuola, ove l'ideale -avvolge la realtà e la bacia, il Canova sospirò come se avesse veduto -sulla scala del bello, più in alto, più in alto l'arte. Come Giacobbe, -egli vide quella scala diritta al cielo. Tardi, esclamò, troppo tardi! -quando ebbe la visione olimpica. Ma non tardi mai, perchè il sacrificio -della sua vita doveva sollevare a maggiori idealità l'arte; e a' suoi -sforzi due generazioni già unirono i loro; e il secolo che sta per -finire guarda all'antesignano, che lo ha iniziato gloriosamente. Il -venerato patriarca non vide la terra promessa, ma altri nell'avvenire da -lui generato vedrà per la scala, da lui intravveduta come in un sogno -tra le nebbie di Londra, salire, salire al sommo il genio dei tempi -nuovi. - - - - - -Nota del Trascrittore - -Ortografia e punteggiatura originali sono state mantenute, così come le -grafie alternative (edifici/edificî e simili), correggendo senza -annotazione minimi errori tipografici. - - - - - -End of Project Gutenberg's Antonio Canova (1757-1822), by Adolfo Venturi - -*** END OF THIS PROJECT GUTENBERG EBOOK ANTONIO CANOVA (1757-1822) *** - -***** This file should be named 43171-8.txt or 43171-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/1/7/43171/ - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Antonio Canova (1757-1822) - La vita italiana durante la Rivoluzione francese e l'Impero - -Author: Adolfo Venturi - -Release Date: July 9, 2013 [EBook #43171] - -Language: Italian - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ANTONIO CANOVA (1757-1822) *** - - - - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43171 ***</div> <div class="titlepage"> <p> @@ -841,387 +802,6 @@ Copertina creata dal trascrittore e posta nel pubblico dominio. </p> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Antonio Canova (1757-1822), by Adolfo Venturi - -*** END OF THIS PROJECT GUTENBERG EBOOK ANTONIO CANOVA (1757-1822) *** - -***** This file should be named 43171-h.htm or 43171-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/1/7/43171/ - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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