lecture, that the substance of the information it conveys, relates entirely to the feeling and intelligence with which the human form, the loftiest and most interesting subject upon which painting can be employed, was studied by them, and presented to view; either serene and undisturbed, or under the influence of the various passions of the mind.

It had been gratifying to us, if, in addition to the knowledge of this direction of their study, we were possessed of more efficient means for ascertaining the exact extent of the system of painting pursued by the ancient Greeks; the arbiters even yet of all which is beautiful and graceful in representations of the human figure; particularly since it has given rise to such exalted encomiums, and to so many brilliant illustrations of noble and elevated sentiments.

We have quite sufficient foundation for believing, that, in support of the power of expression pointed out by Mr. Fuseli, their painters possessed a comprehensive knowledge of the true quality of the imitation required by fine painting; and that in the composition of a group, or of parts in one plane, in grace, in taste, in character, and design, they rivalled the sculptors of the best period. Neither can we doubt, that they carried colouring of individual objects, and

the management of light and shade, to a great degree of perfection.

But, whether they ever understood and employed composition, as now extensively practised, in what relates to the union and separation of groups in different planes, effecting the distances of given objects, according to the rules of linear and aerial perspective; or whether they at all comprehended and practised the science of chiaro-oscuro, as employed by subsequent schools of art, we have no satisfactory means of deciding. This is the more to be regretted, because, as I have before said, we know by experience, that we are not always justified in attaching the praises given to the effects of pictures, to the mode of their execution also; but rather to their power of exciting vivid ideas in the minds of susceptible observers; which is frequently done by very indifferent, nay, by very bad painting. Indeed, we never arrive at any precise knowledge of the technical qualities of a picture, through the medium of description, unless a special mention be made of some peculiar points in the arrangement and management of its parts, producing the effect it is said to convey.

Of the only sources from whence real and full information could have been derived, concerning the system of painting employed by the

Greeks, time and circumstances have deprived us. The pictures of their greatest masters no longer exist, and we have to deplore the loss of all their writings on the art, which are said to have been numerous.

Had these, or either of these, been preserved to us, the doubt which now must ever assail us on the subject would not have been felt. But those imperfect guides in whatever relates to the practice of the art, the criticisms of ancient authors not artists, their inferences and remarks, do not appear to have proceeded from any portion of technical knowledge, and, of course, convey very little, or rather no information of that

nature.

The whole of the information they afford us would lead us to conclude, that the best pictures by Grecian painters were similar in principle, though superior in composition and in execution, to those found in the ruins of Rome, Herculaneum, Pompeii, and Stabia; and now to be seen. at Rome and Portici.

We have no knowledge of other matter concerning their practice of painting, than such as might have been displayed upon the principles on which those pictures are conducted. No record, for instance, of artificial arrangements of background, or extraordinary contrasts of light and shade, relied upon for effect; or even

of

any systematic arrangement or management of colour, if we except the simple allusion made by Pliny to the system of glazing, or toning as we now term it, employed by Apelles when finishing his pictures. Had such arrangements and effects existed in any striking degree in their paintings, we can scarcely suppose that they would have escaped the observations and remarks of those able writers to whom I have alluded, as they appear to have been perfectly sensible of the full power of relief exhibited in the pictures they contemplated.

The best among the ancient paintings which remain to us are extremely interesting in many points; and in none more than in the manifestations they convey of the nobler spirit of imitation, conducted with breadth and simplicity; derived, as I conceive, from the pictures of the greatest and most renowned masters. The figures are beautiful in proportion and arrangement, delicate in colour, and free, though not correct, in design; but the whole is deficient in perspective, and exhibits no intimation of the knowledge of ornamental chiaro-oscuro.

It may not, therefore, be considered unreasonable, if we conclude, from the circumstances which I have pointed out, that the technical system of painting employed by the Greeks was not

to us.

so extensive as ours; that they never contemplated the art upon that scale of effect on which many of its restorers in the 15th, 16th, and 17th centuries of our era, employed and transferred it But I cannot doubt that they carried a more simple system very near to perfection; and I am by no means sure, that ours, though more difficult and ornamental, is more efficient for the principal purposes of historical painting, where sentiment or instruction is to be conveyed; or even for portraiture, where character is the principal object.

To doubt the excellence of their skill in painting, would be to set aside the acknowledged and accepted evidence of history. The enthusiasm with which the efforts of the art were received, the honours bestowed upon artists, and they were great and numerous, the decree passed by the Sicyonians, or the Athenians, it is doubtful which, prohibiting the practice of painting to those below a certain rank, are all testimonials of the abilities of their painters, and of the value attached to their productions.

Their extreme excellence was probably owing to their pursuit of one simple principle of effect; and to that we may attribute their power of rendering expression, their beauty of form, their taste and grace, and that intense degree of inte