Chapter IV: Front Matter (4)

Novelty, Variety, and Contrast are required in Art, because they are the natural springs that move the mind to attention from its indolent quiescence; but having moved, their duty is performed--the mind of itself will do the rest; they must not act prominent parts. In every work there must be a simplicity which binds the whole together, as a whole; and whatever comes not within that girdle of the graces, is worse than superfluous--it draws off and distracts the attention which should be concentrated. Besides that simplicity which we have spoken of--and we have used the word in its technical sense, as that which keeps together and makes one thing of many parts--there is a simplicity which is best known by its opposite, affectation; upon this Sir Joshua enlarges. "Simplicity, being a negative virtue, cannot be described or defined." But it is possible, even in avoiding affectation, to convert simplicity into the very thing we strive to avoid. N. Poussin--whom, with regard to this virtue, he contrasts with others of the French school--Sir Joshua considers, in his abhorrence of the affectation of his countrymen, somewhat to approach it, by "what in writing would be called pedantry." Du Piles is justly censured for his recipe of grace and dignity. "If," says he, "you draw persons of high character and dignity, they ought to be drawn in such an attitude that the portraits must seem to speak to us of themselves, and as it were to say to us, 'Stop, take notice of me--I am the invincible king, surrounded by majesty.' 'I am the valiant commander who struck terror every where,' 'I am that great minister, who knew all the springs of politics.' 'I am that magistrate of consummate wisdom and probity.'" This is indeed affectation, and a very vulgar notion of greatness. We are reminded of Partridge, and his admiration of the overacting king. All the characters in thus seeming to say, would be little indeed. Not so Raffaelle and Titian understood grace and dignity. Simplicity he holds to be "our barrier against that great enemy to truth and nature, affectation, which is ever clinging to the pencil, and ready to drop and poison every thing it touches." Yet that, "when so very inartificial as to seem to evade the difficulties of art, is a very suspicious virtue." Sir Joshua dwells much upon this, because he thinks there is a perpetual tendency in young artists to run into affectation, and that from the very terms of the precepts offered them. "When a young artist is first told that his composition and his attitudes must be contrasted; that he must turn the head contrary to the position of the body, in order to produce grace and animation; that his outline must be undulating and swelling, to give grandeur; and that the eye must be gratified with a variety of colours; when he is told this with certain animating words of spirit, dignity, energy, greatness of style, and brilliancy of tints, he becomes suddenly vain of his newly-acquired knowledge, and never thinks he can carry those rules too far. It is then that the aid of simplicity ought to be called in to correct the exuberance of youthful ardour." We may add that hereby, too, is shown the danger of particular and practical rules; very few of the kind are to be found in the "Discourses." Indeed the President points out, by examples from Raffaelle, the good effect of setting aside these academical rules. We suspect that they are never less wanted than when they give direction to attitudes and forms of action. He admits that, in order "to excite attention to the more manly, noble, and dignified manner," he had perhaps left "an impression too contemptuous of the ornamental parts of our art." He had, to use his own expression, bent the bow the contrary way to make it straight. "For this purpose, then, and to correct excess or neglect of any kind, we may here add, that it is not enough that a work be learned--it must be pleasing." Pretty much as Horace had said of poetry,

"Non satis est pulchra esse poemata, _dulcia_ sunto."

To which maxim the Latin poet has unconsciously given the grace of rhyme--

"Et quocunque volent animum auditoris agunto."

He again shows the danger of particular practical rules.--"It is given as a rule by Fresnoy, that '_the principal figure of a subject must appear in the midst of the picture, under the principal light, to distinguish it from the rest._' A painter who should think himself obliged strictly to follow this rule, would encumber himself with needless difficulties; he would be confined to great uniformity of composition, and be deprived of many beauties which are incompatible with its observance. The meaning of this rule extends, or ought to extend, no further than this: that the principal figure should be immediately distinguished at the first glance of the eye; but there is no necessity that the principal light should fall on the principal figure, or that the principal figure should be in the middle of the picture." He might have added that it is the very place where generally it ought not to be. Many examples are given; we could have wished he had given a plate from any one in preference to that from Le Brun. Felebein, in praising this picture, according to preconceived recipe, gives Alexander, who is in shade, the principal light. "Another instance occurs to me where equal liberty may be taken in regard to the management of light. Though the general practice is to make a large mass about the middle of the picture surrounded by shadow, the reverse may be practised, and _the spirit of the rule be preserved_." We have marked in italics the latter part of the sentence, because it shows that the rule itself must be ill-defined or too particular. Indeed, we receive with caution all such rules as belong to the practical and mechanical of the art. He instances Paul Veronese. "In the great composition of Paul Veronese, the 'Marriage of Cana,' the figures are for the most part in half shadow. The great light is in the sky; and indeed the general effect of this picture, which is so striking, is no more than what we often see in landscapes, in small pictures of fairs and country feasts: but those principles of light and shadow, being transferred to a large scale, to a space containing near a hundred figures as large as life, and conducted, to all appearance, with as much facility, and with attention as steadily fixed upon _the whole together_, as if it were a small picture immediately under the eye, the work justly excites our admiration, the difficulty being increased as the extent is enlarged." We suspect that _the rule_, when it attempts to direct beyond the words Sir Joshua has marked in italics, refutes itself, and shackles the student. Infinite must be the modes of composition, and as infinite the modes of treating them in light and shadow and colour. "Whatever mode of composition is adopted, every variety and license is allowable." All that is absolutely necessary is, that there be no confusion or distraction, no conflicting masses--in fact, that the picture tell its tale at once and effectually. A very good plate is given by Mr Burnet of the "Marriage of Cana," by Paul Veronese. Sir Joshua avoids entering upon rules that belong to "the detail of the art." He meets with combatants, as might have been expected, where he is thus particular. We will extract the passage which has been controverted, and to oppose the doctrine of which, Gainsborough painted his celebrated "Blue Boy."

"Though it is not my _business_ to enter into the detail of our art, yet I must take this opportunity of mentioning one of the means of producing that great effect which we observe in the works of the Venetian painters, as I think it is not generally known or observed, that the masses of light in a picture be always of a warm mellow colour, yellow red or yellowish white; and that the blue, the grey, or the green colours be kept almost entirely out of these masses, and be used only to support and set off these warm colours; and for this purpose a small proportion of cold colours will be sufficient. Let this conduct be reversed; let the light be cold, and the surrounding colours warm, as we often see in the works of the Roman and Florentine painters, and it will be out of the power of art, even in the hands of Rubens or Titian, to make a picture splendid and harmonious." Le Brun and Carlo Maratti are censured as being "deficient in this management of colours." The "Bacchus and Ariadne," now in our National Gallery, has ever been celebrated for its harmony of colour. Sir Joshua supports his theory or rule by the example of this picture: the red of Ariadne's scarf, which, according to critics, was purposely given to relieve the figure from the sea, has a better object. "The figure of Ariadne is separated from the great group, and is dressed in blue, which, added to the colour of the sea, makes that quantity of cold colour which Titian thought necessary for the support and brilliancy of the great group; which group is composed, with very little exception, entirely of mellow colours. But as the picture in this case would be divided into two distinct parts, one half cold and the other warm, it was necessary to carry some of the mellow colours of the great group into the cold part of the picture, and a part of the cold into the great group; accordingly Titian gave Ariadne a red scarf, and to one of the Bacchantes a little blue drapery." As there is no picture more splendid, it is well to weigh and consider again and again remarks upon the cause of the brilliancy, given by such an authority as Sir Joshua Reynolds. With regard to his rule, even among artists, "adhuc sub judice lis est." He combats the common notion of relief, as belonging only to the infancy of the art, and shows the advance made by Coreggio and Rembrandt; though the first manner of Coreggio, as well as of Leonardo da Vinci and Georgione, was dry and hard. "But these three were among the first who began to correct themselves in dryness of style, by no longer considering relief as a principal object. As these two qualities, relief and fulness of effect, can hardly exist together, it is not very difficult to determine to which we ought to give the preference." "Those painters who have best understood the art of producing a good effect, have adopted one principle that seems perfectly conformable to reason--that a part may be sacrificed for the good of the whole. Thus, whether the masses consist of light or shadow, it is necessary that they should be compact, and of a pleasing shape; to this end some parts may be made darker and some lighter, and reflections stronger than nature would warrant." He instances a "Moonlight" by Rubens, now, we believe, in the possession of Mr Rogers, in which Rubens had given more light and more glowing colours than we recognize in nature,--"it might easily be mistaken, if he had not likewise added stars, for a fainter setting sun." We stop not to enquire if that harmony so praised, might not have been preserved had the resemblance to nature been closer. Brilliancy is produced. The fact is, the _practice_ of art is a system of compensation. We cannot exactly in all cases represent nature,--we have not the means, but our means will achieve what, though _particularly_ unlike, may, by itself or in opposition, produce similar effects. Nature does not present a varnished polished surface, nor that very transparency that our colours can give; but it is found that this transparency, in all its degrees, in conjunction and in opposition to opaque body of colour, represents the force of light and shade of nature, which is the principal object to attain. _The_ richness of nature is not the exact richness of the palette. The painter's success is in the means of compensation.

This Discourse concludes with observations on the Prize pictures. The subject seems to have been the Sacrifice of Iphigenia. All had copied the invention of Timanthes, in hiding the face of Agamemnon. Sir Joshua seems to agree with Mr Falconet, in a note in his translation of Pliny, who would condemn the painter, but that he copied the idea from the authority of Euripides; Sir Joshua considers it at best a trick, that can only with success be practised once. Mr Fuseli criticises the passage, and assumes that the painter had better reason than that given by Mr Falconet. Mr Burnet has added but two or three notes to this Discourse--they are unimportant, with the exception of the last, wherein he combats Sir Joshua's theory of the cold and warm colours. He candidly prints an extract of a letter from Sir Thomas Lawrence, who differs with him. It is so elegantly written that we quote the passage. Sir Thomas says,--"Agreeing with you in so many points, I will venture to differ from you in your question with Sir Joshua. Infinitely various as nature is, there are still two or three truths that limit her variety, or, rather, that limit art in the imitation of her. I should instance for one the ascendency of white objects, which can never be departed from with impunity, and again, the union of colour with light. Masterly as the execution of that picture is (viz. the Boy in a blue dress,) I always feel a never-changing impression on my eye, that the "Blue Boy" of Gainsborough is a difficulty boldly combated, not conquered. The light blue drapery of the Virgin in the centre of the "Notte" is another instance; a check to the harmony of the celestial radiance round it." "Opposed to Sir Thomas's opinion," says Mr Burnet, "I might quote that of Sir David Wilkie, often expressed, and carried out in his picture of the 'Chelsea Pensioners' and other works." It strikes us, from our recollection of the "Chelsea Pensioners," that it is not at all a case in point; the blue there not being light but dark, and serving as dark, forcibly contrasting with warmer light in sky and other objects; the _colour_ of blue is scarcely given, and is too dark to be allowed to enter into the question. He adds, "A very simple method may be adopted to enable the student to perceive where the warm and red colours are placed by the great colourists, by his making a sketch of light and shade of the picture, and then touching in the warm colours with red chalk; or by looking on his palette at twilight, he will see what colours absorb the light, and those that give it out, and thus select for his shadows, colours that have the property of giving depth and richness." Unless the pictures are intended to be seen at twilight, we do not see how this can bear upon the question; if it does, we would notice what we have often observed, that at twilight blue almost entirely disappears, to such a degree that in a landscape where the blue has even been deep, and the sky by no means the lightest part of the picture, at twilight the whole landscape comes out too hard upon the sky, which with its colour has lost its tone, and become, with relation to the rest, by far too light. It is said that of all the pictures in the National Gallery, when seen at twilight, the Coreggios retire last--we speak of the two, the "Ecce Homo" and the "Venus, Mercury, and Cupid." In these there is no blue but in the drapery of the fainting mother, and that is so dark as to serve for black or mere shadow; the lighter blue close upon the neck is too small to affect the power of the picture. It certainly is a fact, that blue fades more than any colour at twilight, and, relatively speaking, leaves the image that contains it lighter. We should almost be inclined to ask the question, though with great deference to authority, is blue, when very light, necessarily cold; and if so, has it not an activity which, being the great quality of light, assimilates it with light, and thus takes in to itself the surrounding "radiance?" A very little positive warm colour, as it were set in blue, from whatever cause, gives it a surprising glow. We desire to see the theory of colours treated, not with regard to their corresponding harmony in their power one upon the other, nor in their light and shadow, but, if we may so express it, in their sentimentality--the effect they are capable of in moving the passions. We alluded to this in our last paper, and the more we consider the subject, the more we convinced that it is worth deeper investigation.

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The NINTH DISCOURSE is short, and general in its character; it was delivered at the opening of the Royal Academy in Somerset Place, October 16, 1780. It is an elegant address; raises the aim of the artist; and gives a summary of the origin of arts and their use. "Let us for a moment take a short survey of the progress of the mind towards what is, or ought to be, its true object of attention. Man in his lowest state has no pleasures but those of sense, and no wants but those of appetite; afterwards, when society is divided into different ranks, and some are appointed to labour for the support of others, those whom their superiority sets free from labour begin to look for intellectual entertainments. Thus, while the shepherds were attending their flocks, their masters made the first astronomical observations; so music is said to have had its origin from a man at leisure listening to the strokes of a hammer. As the senses in the lowest state of nature are necessary to direct us to our support, when that support is once secure, there is danger in following them further; to him who has no rule of action but the gratification of the senses, plenty is always dangerous. It is therefore necessary to the happiness of individuals, and still more necessary to the security of society, that the mind should be elevated to the idea of general beauty, and the contemplation of general truth; by this pursuit the mind is always carried forward in search of something more excellent than it finds, and obtains its proper superiority over the common sense of life, by learning to feel itself capable of higher aims and nobler enjoyments." This is well said. Again.--"Our art, like all arts which address the imagination, is applied to a somewhat lower faculty of the mind, which approaches nearer to sensuality, but through sense and fancy it must make its way to reason. For such is the progress of thought, that we perceive by sense, we combine by fancy, and distinguish by reason; and without carrying our art out of its natural and true character, the more we purify it from every thing that is gross in sense, in that proportion we advance its use and dignity, and in proportion as we lower it to mere sensuality, we pervert its nature, and degrade it from the rank of a liberal art; and this is what every artist ought well to remember. Let him remember, also, that he deserves just so much encouragement in the state as he makes himself a member of it virtuously useful, and contributes in his sphere to the general purpose and perfection of society." Sir Joshua has been blamed by those who have taken lower views of art, in that he has exclusively treated of the Great Style, which neither he nor the academicians of his day practised; but he would have been unworthy the presidential chair had he taken any other line. His was a noble effort, to assume for art the highest position, to dignify it in its aim, and thus to honour and improve first his country, then all human kind. We rise from such passages as these elevated above all that is little. Those only can feel depressed who would find excuses for the lowness of their pursuits.

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The TENTH DISCOURSE.--Sir Joshua here treats of Sculpture, a less extensive field than Painting. The leading principles of both are the same; he considers wherein they agree, and wherein they differ. Sculpture cannot, "with propriety and best effect, be applied to many subjects." Its object is "form and character." It has "one style only,"--that one style has relation only to one style of painting, the Great Style, but that so close as to differ only as operating upon different materials. He blames the sculptors of the last age, who thought they were improving by borrowing from the ornamental, incompatible with its essential character. Contrasts, and the littlenesses of picturesque effects, are injurious to the formality its austere character requires. As in painting, so more particularly in sculpture, that imitation of nature which we call illusion, is in no respect its excellence, nor indeed its aim. Were it so, the Venus di Medici would be improved by colour. It contemplates a higher, a more perfect beauty, more an intellectual than sensual enjoyment. The boundaries of the art have been long fixed. To convey "sentiment and character, as exhibited by attitude, and expression of the passions," is not within its province. Beauty of form alone, the object of sculpture, "makes of itself a great work." In proof of which are the designs of Michael Angelo in both arts. As a stronger instance:--"What artist," says he, "ever looked at the Torso without feeling a warmth of enthusiasm as from the highest efforts of poetry? From whence does this proceed? What is there in this fragment that produces this effect, but the perfection of this science of abstract form?" Mr Burnet has given a plate of the Torso. The expectation of deception, of which few divest themselves, is an impediment to the judgment, consequently to the enjoyment of sculpture. "Its essence is correctness." It fully accomplishes its purpose when it adds the "ornament of grace, dignity of character, and appropriated expression, as in the Apollo, the Venus, the Laocoon, the Moses of Michael Angelo, and many others." Sir Joshua uses expression as will be afterwards seen, in a very limited sense. It is necessary to lay down perfect correctness as its essential character; because, as in the case of the Apollo, many have asserted the beauty to arise from a certain incorrectness in anatomy and proportion. He denies that there is this incorrectness, and asserts that there never ought to be; and that even in painting these are not the beauties, but defects, in the works of Coreggio and Parmegiano. "A supposition of such a monster as Grace begot by Deformity, is poison to the mind of a young artist." The Apollo and the Discobolus are engaged in the same purpose--the one watching the effect of his arrow, the other of his discus. "The graceful, negligent, though animated air of the one, and the vulgar eagerness of the other, furnish a signal instance of the skill of the ancient sculptors in their nice discrimination of character. They are both equally true to nature, and equally admirable." Grace, character, and expression, are rather in form and attitude than in features; the general figure more presents itself; "it is there we must principally look for expression or character; _patuit in corpore vultus_." The expression in the countenances of the Laocoon and his two sons, though greater than in any other antique statues, is of pain only; and that is more expressed "by the writhing and contortion of the body than by the features." The ancient sculptors paid but little regard to features for their expression, their object being solely beauty of form. "Take away from Apollo his lyre, from Bacchus his thyrsus and vine-leaves, and from Meleager the boar's head, and there will remain little or no difference in their characters." John di Bologna, he tells us, after he had finished a group, called his friends together to tell him what name to give it: they called it the "Rape of the Sabines." A similar anecdote is told of Sir Joshua himself, that he had painted the head of the old man who attended him in his studio. Some one observed that it would make a Ugolino. The sons were added, and it became the well-known historical picture from Dante. He comments upon the ineffectual attempts of modern sculptors to detach drapery from the figure, to give it the appearance of flying in the air; to make different plans on the same bas-relievos; to represent the effects of perspective; to clothe in a modern dress. For the first attempt he reprehends Bernini, who, from want of a right conception of the province of sculpture, never fulfilled the promise given in his early work of Apollo and Daphne. He was ever attempting to make drapery flutter in the air, which the very massiveness of the material, stone, should seem to forbid. Sir Joshua does not notice the very high authority for such an attempt--though it must be confessed the material was not stone, still it was sculpture, and multitudinous are the graces of ornament, and most minutely described--the shield of Hercules, by Hesiod; even the noise of the furies' wings is affected. The drapery of the Apollo he considers to have been intended more for support than ornament; but the mantle from the arm he thinks "answers a much higher purpose, by preventing that dryness of effect which would inevitably attend a naked arm, extended almost at full length; to which we may add, the disagreeable effect which would proceed from the body and arm making a right angle." He conjectures that Carlo Maratti, in his love for drapery, must have influenced the sculptors of the Apostles in the church of St John Lateran. "The weight and solidity of stone was not to be overcome."

To place figures on different plans is absurd, because they must still appear all equally near the eye; the sculptor has not adequate means of throwing them back; and, besides, the thus cutting up into minute parts, destroys grandeur. "Perhaps the only circumstance in which the modern have excelled the ancient sculptors, is the management of a single group in basso-relievo." This, he thinks, may have been suggested by the practice of modern painters. The attempt at perspective must, for the same reason, be absurd; the sculptor has not the means for this "humble ambition." The ancients represented only the elevation of whatever architecture they introduced into their bas-reliefs, "which is composed of little more than horizontal and perpendicular lines." Upon the attempt at modern dress in sculpture, he is severe in his censure. "Working in stone is a very serious business, and it seems to be scarce worth while to employ such durable materials in conveying to posterity a fashion, of which the longest existence scarcely exceeds a year;" and which, he might have added, the succeeding year makes ridiculous. We not only change our dresses, but laugh at the sight of those we have discarded. The gravity of sculpture should not be subject to contempt. "The uniformity and simplicity of the materials on which the sculptor labours, (which are only white marble,) prescribe bounds to his art, and teach him to confine himself to proportionable simplicity of design." Mr Burnet has not given a better note than that upon Sir Joshua's remark, that sculpture has but one style. He shows how strongly the ancient sculptors marked those points wherein the human figure differs from that of other animals. "Let us take, for example, the human foot; on examining, in the first instance, those of many animals, we perceive the toes either very long or very short in proportion; of an equal size nearly, and the claws often long and hooked inwards: now, in rude sculpture, and even in some of the best of the Egyptians, we find little attempt at giving a character of decided variation; but, on the contrary, we see the foot split up with toes of an equal length and thickness; while, in Greek sculpture, these points characteristic of man are increased, that the affinity to animals may be diminished. In the Greek marbles, the great toe is large and apart from the others, where the strap of the sandal came; while the others gradually diminish and sweep round to the outside of the foot, with the greatest regularity of curve; the nails are short, and the toes broad at the points, indicative of pressure on the ground." Rigidity he considers to have been the character of the first epochs, changing ultimately as in the Elgin marbles, "from the hard characteristics of stone to the vivified character of flesh." He thinks Reynolds "would have acknowledged the supremacy of beautiful nature, uncontrolled by the severe line of mathematical exactness," had he lived to see the Elgin marbles. "The outline of life, which changes under every respiration, seems to have undulated under the plastic mould of Phidias." This is well expressed. He justly animadverts upon the silly fashion of the day, in lauding the vulgar imitation of the worsted stockings by Thom. The subjects chosen were most unfit for sculpture,--their only immortality must be in Burns. We do not understand his extreme admiration of Wilkie; in a note on parallel perspective in sculpture, he adduces Raffaelle as an example of the practice, and closes by comparing him with Sir David Wilkie,--"known by the appellation of the Raffaelle of familiar life,"--men perfect antipodes to each other! There is a proper eulogy on Chantrey, particularly for his busts, in which he commonly represented the eye. We are most anxious for the arrival of the ancient sculpture from Lycia, collected and packed for Government by the indefatigable and able traveller, Mr Fellowes.

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The ELEVENTH DISCOURSE is upon Genius, the particular genius of the painter in his power of seizing and representing nature, or his subject as a whole. He calls it the "genius of mechanical performance." This, with little difference, is enforcing what has been laid down in former Discourses. Indeed, as far as precepts may be required, Sir Joshua had already performed his task; hence, there is necessary repetition. Yet all is said well, and conviction perpetuates the impressions previously made. Character is something independent of minute detail; genius alone knows what constitutes this character, and practically to represent it, is to be a painter of genius. Though it be true that he "who does not at all express particulars expresses nothing; yet it is certain that a nice discrimination of minute circumstances, and a punctilious delineation of them, whatever excellence it may have, (and I do not mean to detract from it,) never did confer on the artist the character of genius." The impression left upon the mind is not of particulars, when it would seem to be so; such particulars are taken out of the subject, and are each a whole of themselves. Practically speaking, as we before observed, genius will be exerted in ascertaining how to paint the "_nothing_" in every picture, to satisfy with regard to detail, that neither its absence nor its presence shall be noticeable.

Our pleasure is not in minute imitation; for, in fact, that is not true imitation, for it forces upon our notice that which naturally we do not see. We are not pleased with wax-work, which may be nearer reality; "we are pleased, on the contrary, by seeing ends accomplished by seemingly inadequate means." If this be sound, we ought to be sensible of the inadequacy of the means, which sets aside at once the common notion that art is illusion. "The properties of all objects, as far as the painter is concerned with them, are outline or drawing, the colour, and the light and shade. The drawing gives the form, the colour its visible quality, and the light and shade its solidity:" in every one of these the habit of seeing as a whole must be acquired. From this habit arises the power of imitating by "dexterous methods." He proceeds to show that the fame of the greatest painters does not rest upon their high finish. Raffaelle and Titian, one in drawing the other in colour, by no means finished highly; but acquired by their genius an expressive execution. Most of his subsequent remarks are upon practice in execution and colour, in contradistinction to elaborate finish. Vasari calls Titian, "giudicioso, bello, e stupendo," with regard to this power. He generalized by colour, and by execution. "In his colouring, he was large and general." By these epithets, we think Sir Joshua has admitted that the great style comprehends colouring. "Whether it is the human figure, an animal, or even inanimate objects, there is nothing, however unpromising in appearance, but may be raised into dignity, convey sentiment, and produce emotion, in the hands of a painter of genius." He condemns that high finish which softens off. "This extreme softening, instead of producing the effect of softness, gives the appearance of ivory, or some other hard substance, highly polished. The value set upon drawings, such as of Coreggio and Parmegiano, which are but slight, show how much satisfaction can be given without high finishing, or minute attention to particulars. "I wish you to bear in mind, that when I speak of a whole, I do not mean simply _a whole_ as belonging to composition, but _a whole_ with respect to the general style of colouring; _a whole_ with regard to light and shade; and _a whole_ of every thing which may separately become the main object of a painter. He speaks of a landscape painter in Rome, who endeavoured to represent every individual leaf upon a tree; a few happy touches would have given a more true resemblance. There is always a largeness and a freedom in happy execution, that finish can never attain. Sir Joshua says above, that even "unpromising" subjects may be thus treated. There is a painter commonly thought to have finished highly, by those who do not look into his manner, whose dexterous, happy execution was perhaps never surpassed; the consequence is, that there is "a largeness," in all his pictures. We mean Teniers. The effect of the elaborate work that has been added to his class of subjects, is to make them heavy and fatiguing to the eye. He praises Titian for the same large manner which he had given to his history and portraits, applied to his landscapes, and instances the back-ground to the "Peter Martyr." He recommends the same practice in portrait painting--the first thing to be attained, is largeness and general effect. The following puts the truth clearly. "Perhaps nothing that we can say will so clearly show the advantage and excellence of this faculty, as that it confers the character of genius on works that pretend to no other merit, in which is neither expression, character, nor dignity, and where none are interested in the subject. We cannot refuse the character of genius to the 'Marriage' of Paolo Veronese, without opposing the general sense of mankind, (great authorities have called it the triumph of painting,) or to the Altar of St Augustine at Antwerp, by Rubens, which equally deserves that title, and for the same reason. Neither of these pictures have any interesting story to support them. That of Paolo Veronese is only a representation of a great concourse of people at a dinner; and the subject of Rubens, if it may be called a subject where nothing is doing, is an assembly of various saints that lived in different ages. The whole excellence of those pictures consists in mechanical dexterity, working, however, under the influence of that comprehensive faculty which I have so often mentioned."

The power of _a whole_ is exemplified by the anecdote of a child going through a gallery of old portraits. She paid very little attention to the finishing, or naturalness of drapery, but put herself at once to mimic the awkward attitudes. "The censure of nature uninformed, fastened upon the greatest fault that could be in a picture, because it related to the character and management of the whole." What he would condemn is that substitute for deep and proper study, which is to enable the painter to conceive and execute every subject as a whole, and a finish which Cowley calls "laborious effects of idleness." He concludes this Discourse with some hints on method of study. Many go to Italy to copy pictures, and derive little advantage. "The great business of study is, to form a mind adapted and adequate to all times and all occasions, to which all nature is then laid open, and which may be said to possess the key of her inexhaustible riches."

Mr Burnet has supplied a plate of the Monk flying from the scene of murder, in Titian's "Peter Martyr," showing how that great painter could occasionally adopt the style of Michael Angelo in his forms. In the same note he observes, that Sir Joshua had forgotten the detail of this picture, which detail is noticed and praised by Algarotti, for its minute discrimination of leaves and plants, "even to excite the admiration of a botanist."--Sir Joshua said they were not there. Mr Burnet examined the picture at Paris, and found, indeed, the detail, but adds, that "they are made out with the same hue as the general tint of the ground, which is a dull brown," an exemplification of the rule, "Ars est celare artem." Mr Burnet remarks, that there is the same minute detail in Titian's "Bacchus and Ariadne."--He is right--we have noticed it, and suspected that it had lost the glazing which had subdued it. As it is, however, it is not important. Mr Burnet is fearful lest the authority of Sir Joshua should induce a habit of generalizing too much. He expresses this fear in another note. He says, "the great eagerness to acquire what the poet calls

'That voluntary style,
Which careless plays, and seems to mock at toil,'

and which Reynolds describes as so captivating, has led many a student to commence his career at the wrong end. They ought to remember, that even Rubens founded this excellence upon years of laborious and careful study. His picture of himself and his first wife, though the size of life, exhibits all the detail and finish of Holbein." Sir Joshua nowhere recommends _careless_ style; on the contrary, he every where urges the student to laborious toil, in order that he may acquire that facility which Sir Joshua so justly calls captivating, and which afterwards Rubens himself did acquire, by studying it in the works of Titian and Paul Veronese; and singularly, in contradiction to his fears and all he would imply, Mr Burnet terminates his passage thus:--"Nor did he (Rubens) quit the dry manner of Otho Venius, till a contemplation of the works of Titian and Paul Veronese enabled him to display with rapidity those materials which industry had collected." It is strange to argue upon the abuse of a precept, by taking it at the wrong end.

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The TWELFTH DISCOURSE recurs likewise to much that had been before laid down. It treats of methods of study, upon which he had been consulted by artists about to visit Italy. Particular methods of study he considers of little consequence; study must not be shackled by too much method. If the painter loves his art, he will not require prescribed tasks;--to go about which sluggishly, which he will do if he have another impulse, can be of little advantage. Hence would follow, as he admirably expresses it, "a reluctant understanding," and a "servile hand." He supposes, however, the student to be somewhat advanced. The boy, like other school-boys, must be under restraint, and learn the "Grammar and Rudiments" laboriously. It is not such who travel for knowledge. The student, he thinks, may be pretty much left to himself; if he undertake things above his strength, it is better he should run the risk of discouragement thereby, than acquire "a slow proficiency" by "too easy tasks." He has little confidence in the efficacy of method, "in acquiring excellence in any art whatever." Methodical studies, with all their apparatus, enquiry, and mechanical labour, tend too often but "to evade and shuffle off real labour--the real labour of thinking." He has ever avoided giving particular directions. He has found students who have imagined they could make "prodigious progress under some particular eminent master." Such would lean on any but themselves. "After the Rudiments are past, very little of our art can be taught by others." A student ought to have a just and manly confidence in himself, "or rather in the persevering industry which he is resolved to possess." Raffaelle had done nothing, and was quite young, when fixed upon to adorn the Vatican with his works; he had even to direct the best artists of his age. He had a meek and gentle disposition, but it was not inconsistent with that manly confidence that insured him success--a confidence in himself arising from a consciousness of power, and a determination to exert it. The result is "in perpetuum."--There are, however, artists who have too much self-confidence, that is ill-founded confidence, founded rather upon a certain dexterity than upon a habit of thought; they are like the improvisatori in poetry; and most commonly, as Metastasio acknowledged of himself, had much to unlearn, to acquire a habit of thinking with selection. To be able to draw and to design with rapidity, is, indeed, to be master of the grammar of art; but in the completion, and in the final settlement of the design, the portfolio must again and again have been turned over, and the nicest judgment exercised. This judgment is the result of deep study and intenseness of thought--thought not only upon the artist's own inventions, but those of others. Luca Giordano and La Fage are brought as examples of great dexterity and readiness of invention--but of little selection; for they borrowed very little from others: and still less will any artist, that can distinguish between excellence and insipidity, ever borrow from them. Raffaelle, who had no lack of invention, took the greatest pains to select; and when designing "his greatest as well as latest works, the Cartoons," he had before him studies he had made from Masaccio. He borrowed from him "two noble figures of St Paul." The only alteration he made was in the showing both hands, which he thought in a principal figure should never be omitted. Masaccio's work was well known; Raffaelle was not ashamed to have borrowed. "Such men, surely, need not be ashamed of that friendly intercourse which ought to exist among artists, of receiving from the dead, and giving to the living, and perhaps to those who are yet unborn. The daily food and nourishment of the mind of an artist is found in the great works of his predecessors. 'Serpens nisi serpentem comederit, non fit draco.'" The fact is, the most self-sufficient of men are greater borrowers than they will admit, or perhaps know; their very novelties, if they have any, commence upon the thoughts of others, which are laid down as a foundation in their own minds. The common sense, which is called "common property," is that stock which all that have gone before us have left behind them; and we are but admitted to the heirship of what they have acquired. Masaccio Sir Joshua considers to have been "one of the great fathers of modern art." He was the first who gave largeness, and "discovered the path that leads to every excellence to which the art afterwards arrived." It is enough to say of him, that Michael Angelo, Leonardo da Vinci, Pietro Perugino, Raffaelle, Bartolomeo, Andrea del Sarto, Il Rosso, and Pierino del Vaga, formed their taste by studying his works. "An artist-like mind" is best formed by studying the works of great artists. It is a good practice to consider figures in works of great masters as statues which we may take in any view. This did Raffaelle, in his "Sergius Paulus," from Masaccio. Lest there should be any misunderstanding of this sort of borrowing, which he justifies, he again refers to the practice of Raffaelle in this his borrowing from Masaccio. The two figures of St Paul, he doubted if Raffaelle could have improved; but "he had the address to change in some measure without diminishing the grandeur of their character." For a serene composed dignity, he has given animation suited to their employment. "In the same manner, he has given more animation to the figure of Sergius Paulus, and to that which is introduced in the picture of Paul preaching, of which little more than hints are given by Masaccio, which Raffaelle has finished. The closing the eyes of this figure, which in Masaccio might be easily mistaken for sleeping, is not in the least ambiguous in the Cartoon. His eyes, indeed are closed, but they are closed with such vehemence, that the agitation of a mind _perplexed in the extreme_ is seen at the first glance; but what is most extraordinary, and I think particularly to be admired, is, that the same idea is continued through the whole figure, even to the drapery, which is so closely muffled about him, that even his hands are not seen: By this happy correspondence between the expression of the countenance and the disposition of the parts, the figure appears to think from head to foot. Men of superior talents alone are capable of thus using and adapting other men's minds to their own purposes, or are able to make out and finish what was only in the original a hint or imperfect conception. A readiness in taking such hints, which escape the dull and ignorant, makes, in my opinion, no inconsiderable part of that faculty of mind which is called genius." He urges the student not even to think himself qualified to invent, till he is well acquainted with the stores of invention the world possesses; and insists that, without such study, he will not have learned to select from nature. He has more than once enforced this doctrine, because it is new. He recommends, even in borrowing, however, an immediate recurrence to the model, that every thing may be finished from nature. Hence he proceeds to give some directions for placing the model and the drapery--first to impress upon the model the purpose of the attitude required--next, to be careful not to alter drapery with the hand, rather trusting, if defective, to a new cast. There is much in being in the way of accident. To obtain the freedom of accident Rembrandt put on his colours with his palette-knife; a very common practice at the present day. "Works produced in an accidental manner will have the same free unrestrained air as the works of nature, whose particular combinations seem to depend upon accident." He concludes this Discourse by more strenuously insisting upon the necessity of ever having nature in view--and warns students by the example of Boucher, Director of the French Academy, whom he saw working upon a large picture, "without drawings or models of any kind." He had left off the use of models many years. Though a man of ability, his pictures showed the mischief of his practice. Mr Burnet's notes to this Discourse add little to the material of criticism; they do but reiterate in substance what Sir Joshua had himself sufficiently repeated. His object seems rather to seize an opportunity of expressing his admiration of Wilkie, whom he adduces as a parallel example with Raffaelle of successful borrowing. It appears from the account given of Wilkie's process, that he carried the practice much beyond Raffaelle. We cannot conceive any thing _very_ good coming from so very methodical a manner of setting to work. Would not the fire of genius be extinguished by the coolness of the process? "When he had fixed upon his subject, he thought upon _all_ pictures of that class already in existence." The after process was most elaborate. Now, this we should think a practice quite contrary to Raffaelle's, who more probably trusted to his own conception for the character of his picture as a whole, and whose borrowing was more of single figures; but, if of the whole manner of treating his subject, it is not likely that he would have thought of more than one work for his imitation. The fact is, Sir David Wilkie's pictures show that he did carry this practice too far--for there is scarcely a picture of his that does not show patches of imitations, that are not always congruous with each other; there is too often in one piece, a bit of Rembrandt, a bit of Velasquez, a bit of Ostade, or others. The most perfect, as a whole, is his "Chelsea Pensioners." We do not quite understand the brew of study fermenting an accumulation of knowledge, and imagination exalting it. "An accumulation of knowledge impregnated his mind, fermented by study, and exalted by imagination;" this is very ambitious, but not very intelligible. He speaks of Wilkie attracting the attention of admirers and detractors. It is very absurd to consider criticism that is not always favourable, detraction. The following passage is well put. "We constantly hear the ignorant advising a student to study the great book of nature, without being biassed by what has been done by other painters; it is as absurd as if they would recommend a youth to learn astronomy by lying in the fields, and looking on the stars, without reference to the works of Kepler, Tycho Brahe, or of Newton." There is indeed a world of cant in the present day, that a man must do all to his own unprejudiced reason, contemning all that has been done before him. We have just now been looking at a pamphlet on Materialism (a pamphlet of most ambitious verbiage,) in which, with reference to all former education, we are "the slaves of prejudice;" yet the author modestly requires that minds--we beg his pardon, we have _no minds_--intellects must be _trained_ to his mode of thinking, ere they can arrive at the truth and the perfection of human nature. If this training is prejudice in one set of teachers, may it not be in another? We continually hear artists recommend nature without "a prejudice in favour of old masters." Such artists are not likely to eclipse the fame of those great men, the study of whose works has so long _prejudiced_ the world.

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