DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19571#0028
THE ARTIST'S ASSISTANT. 21
ready clefigned, there being no fuch thing as defin-
ing with ftrict juftnefs. but by comparing and pro-
portioning every part to the hid. All the other
rules relate to perfpective.
~>X< ^X^X^X < «>) X < - > X < '->X<^»
Of the EXPRESSION of the PASSIONS.
r HAT language, which, above all others, a painter
fhould carefully endeavour to learn, and from
ature herfelf. is the language of the paffions. With-
out it the fineft work muft appear lifelefsand inani-
mate. It is not enough for a painter to be able to
delineate the moft exquifite forms, give them the moft
graceful attitudes, and compofe them well together :
it is net enough to drefsthem out with propriety and
in the moft beautiful colours. It is not enough, in
fine, by the powerful magic of light and fhade to
make the canvafs vanifh. No, he muft likewife
know how to cloath his figures with grief, with joy,
with fear, with anger;, he muft, in fome fort, write
on their faces, what they think, and what they feel ;
he muft give them life and fpeech. It, is indeed, in
this branch that painting truly foars, and, in a man-
ner, rifes fuperior to herfelf : it is in this branch fhe
makes the fpectator apprehend much more than
what fhe expreffes.
The means, employed in her imitations by paint-
ing, are the circumfpeftion of terms, the chiarofcura,
and colours; all which appear folely calculated to
ftrike the vifual faculty. Notwithstanding which, fhe
contrives to reprefent hard and foft, rough and fmooth
furfaces, which are obiefts of touch; and this
by
ready clefigned, there being no fuch thing as defin-
ing with ftrict juftnefs. but by comparing and pro-
portioning every part to the hid. All the other
rules relate to perfpective.
~>X< ^X^X^X < «>) X < - > X < '->X<^»
Of the EXPRESSION of the PASSIONS.
r HAT language, which, above all others, a painter
fhould carefully endeavour to learn, and from
ature herfelf. is the language of the paffions. With-
out it the fineft work muft appear lifelefsand inani-
mate. It is not enough for a painter to be able to
delineate the moft exquifite forms, give them the moft
graceful attitudes, and compofe them well together :
it is net enough to drefsthem out with propriety and
in the moft beautiful colours. It is not enough, in
fine, by the powerful magic of light and fhade to
make the canvafs vanifh. No, he muft likewife
know how to cloath his figures with grief, with joy,
with fear, with anger;, he muft, in fome fort, write
on their faces, what they think, and what they feel ;
he muft give them life and fpeech. It, is indeed, in
this branch that painting truly foars, and, in a man-
ner, rifes fuperior to herfelf : it is in this branch fhe
makes the fpectator apprehend much more than
what fhe expreffes.
The means, employed in her imitations by paint-
ing, are the circumfpeftion of terms, the chiarofcura,
and colours; all which appear folely calculated to
ftrike the vifual faculty. Notwithstanding which, fhe
contrives to reprefent hard and foft, rough and fmooth
furfaces, which are obiefts of touch; and this
by