I 20

P O R

IL PET i MEN TO, is an Italian term, ufed tofignify
thofe ftudies in which the parts are turned various ways ;
for inftance, the heads, or double arms, legs thrown
about on all fides, &c. whereby the author has endea-
voured to difcover and felecl: that which belt fin ted his
fubject.

PEDESTRIAN, in fculpture, is a figure (landingon
its feet, in contradiftin£tion to Equestrian.

PERSPECTIVE has been treated in the Lectures.

PICTURESQUE, fignifies what is allied to pidure,.
and coincides with its principles ; relating either to atti-
tude, compofition, or expreffion. It has been defined
as " a piquant and fmgular choice of natural effects, fea-
u foned with fpirit and tafte, and fupported by reafon."

PORTRAIT is a reprefentation of fome particular
perfoUj whom it fo clofely refembles, as to be readily
known by thofe acquainted with the original.

The merit of portrait painting, is not confined to
mere likenefs, line for line ; a very middling painter
may herein perform wonders ; but, to likenefs muff be
added, expreffions of the temperament, the character, air*
and difpofition of the perfon painted. Every perfon has
his appropriate character, which muft behitaX the mofl
favourable moment, and to the beft advantage \ for al-
though flattery be with reafon condemned in portraits,
yet as every perfon looks better, in every fenfe, at fome
times than at others, it is furely very allowable that his
beft and mod agreeable appearances fhould rather be fe-
}e£ted than his lefs happy moments ; and if, when he fits
for his picture, be not his moft favourable time, where-
iore mould not a painter artfully treat his portrait with

reference