which they appear. In the abstract forms 50. All the effect of forms, in imitative art, being thus owing to that which they signify or express, truth is the principle and foundation of all their power in affecting the mind: for, in these cases, expression, that is not true, ceases to be expression. If large muscles, limbs, and features, and a vast outline of body do not imply a capacity for great exertions, but appear heavy, torpid, unwieldy, or disjointed, * Mr. Alison has observed that grandeur and sublimity of form is entirely owing to association and expression: but by endeavouring to reduce every thing to one principle, he makes that principle so completely the criterion both of his judgment, and his perceptions, as to discover sublimity in the forms of pieces of artillery, mortars, spears, swords, and even daggers, because they are associated with ideas of danger, terror, &c. Essays on Taste, p. 226. His senses are little less complaisant to his theories in the article of beauty; which he also deduces entirely from association; but seems to forget, though he abundantly exemplifies, the influence, which the association of a favorite system may acquire in every thing. CHAP. III. Of Judg. ment. CHAP. Of Judg ment. they are only great in size; but void of all grandeur of character. Even if they be drawn with so much skill and science, as to express fully and correctly this capacity; but are put into action, in constrained or studied modes and postures; or such, as the natural impulse of the occasion would not spontaneously excite, the expression becomes necessarily false and affected; and, consequently, awakens no sympathy. We may, indeed, admire the skill and ingenuity of the artist; and feel surprise at the novelty and singularity of his inventions; but both our admiration and surprise will be of that kind, which is caused by the distortions of a tumbler, or the tricks of a mountebank. 51. Upon this principle, there has always appeared to me more of real grandeur and sublimity in Raphael's small picture of the Descent of God, or Vision of Ezekiel; and in Salvator Rosa's of Saul and the Witch of Endor, than in all the vast and turgid compositions of the Sistine chapel. Salvator, indeed, scarcely ever attempts grandeur of form, in the outlines of his figures; but he as seldom misses, what is of much more importance in his art, grandeur of effect in the general composition of his pictures. In the wildest flights of his wild imagination, he always exhibits just and natural action and expression; of which the picture above cited is a remarkable instance. ཚ The visionary spectres in the back ground are CHAP. III. wild and fantastic in their forms, as such ficti- Of Judg tious beings might naturally be supposed to appear; but the mixture of horror and frenzy in the witch, of awe and anxiety in the monarch, and of terror and astonishment in the soldiers, are expressed, both in their countenances and gestures, with all the truth and nice discrimination of nature; and with all the dignity and elevation of poetry. The general effect of the whole, too, is extremely grand and imposing; and it is this general effect that pre-engages the attention, and thus disposes the mind to sympathize with the parts. Those painters, who, in their zeal for the grand style, affect to despise what they are pleased to call tricks of light and shade, do, in reality, despise the most powerful means, which their art affords, of producing the effect, which they profess to aim at; as will abundantly appear by the works of Titian, Rubens, and Rembrandt; who, without any pretensions to grandeur of form, or dignity or elevation of character or expression, have produced grander, and more imposing pictures*, than any of those, who have sought for grandeur in vast outlines and unusual postures. See the Peter Martyr of Titian, the Daniel in the Lions' Den of Rubens, the Raising of Lazarus and Crucifixion of Rembrandt, &c. ment. CHAP. Of Judg- 52. Titian's expression of character is always feeble; Rubens's generally coarse; and Rembrant's ridiculously low and mean, though admirably just and natural: conscious of his deficiency in anatomical science, and precision of outline, he cautiously avoided all objects that might lead him to attempt elegance of form, or grace and dignity of character; at the same time that his sound judgment and accurate observation pointed out the true expression of the temper and affections of the mind, both in the countenances and gestures of such figures, as were within his reach; and his unrivalled skill in the use of colours enabled him to exhibit it with a degree of exactitude and energy, which scarcely any other painter has ever attained. 53. The principles of excellence in painting are so distinct from those of sculpture, that the highly elevated character of general or ideal nature, so appropriate to the perfection of the latter, is, perhaps, scarcely compatible with that of the former; which, being a more complete imitation of its objects, requires a stricter adherence to their individual peculiarities. In sculpture, we have only the forms and lines of expression; so that a statue is, in itself, but an abstract imitation; and, consequently, is employed to the greatest advantage in exhibiting abstract nature: but, in painting, 1. we have also the glow of animation; and the hues, as well as lines, of passion and affection; wherefore, as less is left to the imagination, the tone of imitation must be brought down nearer to a level with the individual objects, with which it will be compared, and by which it will consequently be judged. 54. In this respect, the difference between sculpture and painting is similar to that, which has been already remarked, between epic and dramatic poetry. In the picture and upon the stage, the imitation being immediately addressed to the organ of sense, and entirely dependent on its evidence, requires in many cases, and admits in all, a stricter and more detailed adherence to the peculiarities of common individual nature, than either of the sister arts will ever allow. Many of our most affecting tragedies are taken from the events of common life; and, in them, the personages appear upon the stage in the common dresses of the times-in laced coats, cocked hats, &c.; but no beauty of verse nor felicity of description could make us endure such things in epic narration. In the same manner, some of the most interesting and affecting pictures, that the art has ever produced, are taken from similar events, and treated in a similar style; such as Mr. West's General Wolfe, Mr. Westall's Storm in Harvest, and Mr. Wright's Soldier's CHAP. III. Of Judg ment. |