A N 1
for although every fpectator cannot di(cover wherein
anatomical errors may confift, yet moft can perceive a
fomething, which being unufual, is alfo unpleafant.
ANIMATED is fpoken of objects which approach
in their appearance to the neareft and moft perfect re-
femblance of nature, fuppofed in the famecircumftances.
A portrait is animated, when a fpeclator might al-
moft miftake it for real life : a figure is animated, when
it clofely refembles the very movement of a living figure,
in fuch a fituation ; and a groupe of figures is animated,
when the whole feems as it were alert and lively.
Ani?nation depends much on correction of defign, on
the vivacity of colouring, and on proper fupport by the
back ground, and other accompaniments, in a picture;
in a ftatue, on the vigour and verifimility of expreffiom
Thofe painters who have too clofely copied the an-
tique, have feldom given extraordinary animation to
their figures : the leading ideas of ftatues being rather
repofe and grace, than tranfitory motion. The ancient
figures are ufually calm and compofed, and their out-
lines rather gliding and fmooth, than fharp and determi-
nate, which is required by animation. Animation in
nature is but momentary, and therefore requires diligent
inflection to difcem and catch it.
ANTIPATHY is uied to exprefs the oppofition be-
tween certain colours : from which oppofition, as from
diffonance in mufic, arifes the majority of agreeable ef-
fects. The control of this antipathy, the foftening and
regulating it, or the giving it full force and effect, is
among the diifinguifhing tokens of a mafter. Let it in
general be obferved, that as any one object in a picture