按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
highest pretensions； as it is addressed to the noblest faculties； In those of
another it is reduced to a mere matter of ornament； and the painter has but
the humble province of furnishing our apartments with elegance。
This exertion of mind； which is the only circumstance that truly
ennobles our art； makes the great distinction between the Roman and
Venetian schools。 I have formerly observed that perfect form is produced
by leaving out particularities； and retaining only general ideas。 I shall
now endeavour to show that this principle； which I have proved to be
metaphysically just； extends itself to every part of the art； that it gives
what is called the grand style to invention； to composition； to expression；
and even to colouring and drapery。
Invention in painting does not imply the invention of the subject； for
that is commonly supplied by the poet or historian。 With respect to the
choice； no subject can be proper that is not generally interesting。 It ought
to be either some eminent instance of heroic action or heroic suffering。
There must be something either in the action or in the object in which men
are universally concerned； and which powerfully strikes upon the public
sympathy。
Strictly speaking； indeed； no subject can be of universal； hardly can it
be of general concern： but there are events and characters so popularly
known in those countries where our art is in request； that they may be
considered as sufficiently general for all our purposes。 Such are the great
events of Greek and Roman fable and history； which early education and
the usual course of reading have made familiar and interesting to all
Europe； without being degraded by the vulgarism of ordinary life in any
37
… Page 38…
SEVEN DISCOURSES ON ART
country。 Such； too； are the capital subjects of Scripture history； which；
besides their general notoriety； become venerable by their connection with
our religion。
As it is required that the subject selected should be a general one； it is
no less necessary that it should be kept unembarrassed with whatever may
any way serve to divide the attention of the spectator。 Whenever a story
is related； every man forms a picture in his mind of the action and the
expression of the persons employed。 The power of representing this
mental picture in canvas is what we call invention in a painter。 And as in
the conception of this ideal picture the mind does not enter into the minute
peculiarities of the dress； furniture； or scene of action； so when the painter
comes to represent it he contrives those little necessary concomitant
circumstances in such a manner that they shall strike the spectator no more
than they did himself in his first conception of the story。
I am very ready to allow that some circumstances of minuteness and
particularity frequently tend to give an air of truth to a piece； and to
interest the spectator in an extraordinary manner。 Such circumstances；
therefore； cannot wholly be rejected； but if there be anything in the art
which requires peculiar nicety of discernment； it is the disposition of these
minute circumstantial parts which； according to the judgment employed in
the choice； become so useful to truth or so injurious to grandeur。
However； the usual and most dangerous error is on the side of
minuteness； and； therefore； I think caution most necessary where most
have failed。 The general idea constitutes real excellence。 All smaller
things； however perfect in their way； are to be sacrificed without mercy to
the greater。 The painter will not inquire what things may be admitted
without much censure。 He will not think it enough to show that they may
be there； he will show that they must be there； that their absence would
render his picture maimed and defective。
Thus； though to the principal group a second or third be added； and a
second and third mass of light； care must be yet taken that these
subordinate actions and lights； neither each in particular； nor all together；
come into any degree of competition with the principal； they should make
a part of that whole which would be imperfect without them。 To every
38
… Page 39…
SEVEN DISCOURSES ON ART
part of painting this rule may be applied。 Even in portraits； the grace and；
we may add； the likeness； consists more in taking the general air than in
observing the effect similitude of every feature。
Thus figures must have a ground whereon to stand； they must be
clothed； there must be a background； there must be light and shadow； but
none of these ought to appear to have taken up any part of the artist's
attention。 They should be so managed as not even to catch that of the
spectator。 We know well enough； when we analyse a piece； the difficulty
and the subtlety with which an artist adjusts the background； drapery； and
masses of light； we know that a considerable part of the grace and effect of
his picture depends upon them； but this art is so much concealed； even to a
judicious eye； that no remains of any of these subordinate parts occur to
memory when the picture is not present。
The great end of the art is to strike the imagination。 The painter is；
therefore； to make no ostentation of the means by which this is done； the
spectator is only to feel the result in his bosom。 An inferior artist is
unwilling that any part of his industry should be lost upon the spectator。
He takes as much pains to discover； as the greater artist does to conceal；
the marks of his subordinate assiduity。 In works of the lower kind
everything appears studied and encumbered； it is all boastful art and open
affectation。 The ignorant often part from such pictures with wonder in
their mouths； and indifference in their hearts。
But it is not enough in invention that the artist should restrain and keep
under all the inferior parts of his subject； he must sometimes deviate from
vulgar and strict historical truth in pursuing the grandeur of his design。
How much the great style exacts from its professors to conceive and
represent their subjects in a poetical manner； not confined to mere matter
of fact； may be seen in the cartoons of Raffaelle。 In all the pictures in
which the painter has represented the apostles； he has drawn them with
great nobleness； he has given them as much dignity as the human figure is
capable of receiving yet we are expressly told in Scripture they had no
such respectable appearance； and of St。 Paul in particular； we are told by
himself； that his bodily presence was mean。 Alexander is said to have
been of a low stature： a painter ought not so to represent him。 Agesilaus
39
… Page 40…
SEVEN DISCOURSES ON ART
was low； lame； and of a mean appearance。 None of these defects ought
to appear in a piece of which he is the hero。 In conformity to custom； I
call this part of the art history painting； it ought to be called poetical； as in
reality it is。
All this is not falsifying any fact； it is taking an allowed poetical
licence。 A painter of portraits retains the individual likeness； a painter of
history shows the man by showing his actions。 A painter must
compensate the natural deficiencies of his art。 He has but one sentence to
utter； but one moment to exhibit。 He cannot； like the poet or historian；
expatiate； and impress the mind with great veneration for the character of
the hero or saint he represents； though he lets us know at the same time
that the saint was deformed； or the hero lame。 The painter has no other
means of giving an idea of the dignity of the mind； but by that external
appearance which grandeur of thought does generall