DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19571#0103
THE ARTIST'S ASSISTANT. 8a
regard not only to the model, but alfo to the part
already defigned ; there being no fuch a thing as de-
fining with ftrift juftnefs, but by comparing and
proportioning every part to the firffe, &c. .
As to attitudes.—In them the ponderation and
contrail are founded in nature. It performs no ac-
tion without {hewing thofe two parts; and was it
to fail in it, it would be either deprived of motion,
or coriftrained in its action.
As to expreffions.—They are the touch-Hone of
the judgment of the painter: he fhews by the juft-
nefs wherewith he distributes them, his penetra-
tion and difcernmcnt.
As to the extremities, viz. the head, feet and
hands, muft be more finifhed than any other things.
As to draperies.—It is faid in painting, to throw
a drapery, or give a drapery, in (lead of cloathing
a figure. Draperies are not to be fet in form, as our
cloaths are ; but the plaits mult be found as by
chance round the members, that they may make
them appear fuch as they are ; and by an induf-
trious artifice, contraft them in {hewing them, and
carefs them, by their tender finuofities and foftnefs.
As to the landfkape.—This kind of painting con
tains an abridgment of all the others; the painter
who practifes it, muft have an univerfal knowledge
of the parts of his art, if not in fo great a detail as
thofe who commonly paint hiftory, at leaft fpecu-
latively, and in general. And if he does not finifh
all the obje&s in particular, which compofe his
piece, or accompany his landfkape, he is obliged
at leaft, to exprefs in a lively manner, the tafte and
character thereof; and to give the much more fpirit
to his works, that it is lefs finifhed,
M Let
regard not only to the model, but alfo to the part
already defigned ; there being no fuch a thing as de-
fining with ftrift juftnefs, but by comparing and
proportioning every part to the firffe, &c. .
As to attitudes.—In them the ponderation and
contrail are founded in nature. It performs no ac-
tion without {hewing thofe two parts; and was it
to fail in it, it would be either deprived of motion,
or coriftrained in its action.
As to expreffions.—They are the touch-Hone of
the judgment of the painter: he fhews by the juft-
nefs wherewith he distributes them, his penetra-
tion and difcernmcnt.
As to the extremities, viz. the head, feet and
hands, muft be more finifhed than any other things.
As to draperies.—It is faid in painting, to throw
a drapery, or give a drapery, in (lead of cloathing
a figure. Draperies are not to be fet in form, as our
cloaths are ; but the plaits mult be found as by
chance round the members, that they may make
them appear fuch as they are ; and by an induf-
trious artifice, contraft them in {hewing them, and
carefs them, by their tender finuofities and foftnefs.
As to the landfkape.—This kind of painting con
tains an abridgment of all the others; the painter
who practifes it, muft have an univerfal knowledge
of the parts of his art, if not in fo great a detail as
thofe who commonly paint hiftory, at leaft fpecu-
latively, and in general. And if he does not finifh
all the obje&s in particular, which compofe his
piece, or accompany his landfkape, he is obliged
at leaft, to exprefs in a lively manner, the tafte and
character thereof; and to give the much more fpirit
to his works, that it is lefs finifhed,
M Let