DOI Page / Citation link:
https://doi.org/10.11588/diglit.1183#0057
40 AN ESSAY ON THE
of the Last Judgement, where he introduces Charon ferrying over the
souls of the damned, and other allusions to the heathen mythology, which
give to the Christian creed the adventitious character of learned fable.
On the other hand, Raffaelle grasps his subject with the power of one who
relies upon truth and nature for the effect; and, leaving the regions of
poetry and fiction, gives an identity to the scene, founded upon the
principle of simple facts being ennobled by the great powers of elevated
art. Besides, we must never forget that the public taste is already formed
from a contemplation of the many great works now in existence, and
which have stood the test of ages, and that it is only by being in
some manner conformable to these we can ever hope for a favourable
reception.
COMPOSITION.
By Composition is generally meant the form and arrangement of the
several parts considered as a whole; consequently, the form or plan of
any composition is the first process the painter practically commences
with. The nature of the subject having been settled, he weighs in his
mind the effect to be produced upon the spectator; he therefore arranges
his figures and objects accordingly, and endeavours to distribute his
materials in that form which will best accord with his intention. The
illustration of his story, the distribution of his light and shade and colour,
the localities of the scene, all present their individual interests to his
notice; while his imagination embodies them into that congregated form
which seems best calculated for his purpose. Here it is, that the memory
is called into action; without precedents he cannot judge, without materials
he cannot compose. Having now laid down his plan of operations, he
applies to nature to furnish him with the means of giving variety and
originality to his work; but to bind her to his purpose, he must have a
settled knowledge of what he is seeking, he must have a quickness
of the Last Judgement, where he introduces Charon ferrying over the
souls of the damned, and other allusions to the heathen mythology, which
give to the Christian creed the adventitious character of learned fable.
On the other hand, Raffaelle grasps his subject with the power of one who
relies upon truth and nature for the effect; and, leaving the regions of
poetry and fiction, gives an identity to the scene, founded upon the
principle of simple facts being ennobled by the great powers of elevated
art. Besides, we must never forget that the public taste is already formed
from a contemplation of the many great works now in existence, and
which have stood the test of ages, and that it is only by being in
some manner conformable to these we can ever hope for a favourable
reception.
COMPOSITION.
By Composition is generally meant the form and arrangement of the
several parts considered as a whole; consequently, the form or plan of
any composition is the first process the painter practically commences
with. The nature of the subject having been settled, he weighs in his
mind the effect to be produced upon the spectator; he therefore arranges
his figures and objects accordingly, and endeavours to distribute his
materials in that form which will best accord with his intention. The
illustration of his story, the distribution of his light and shade and colour,
the localities of the scene, all present their individual interests to his
notice; while his imagination embodies them into that congregated form
which seems best calculated for his purpose. Here it is, that the memory
is called into action; without precedents he cannot judge, without materials
he cannot compose. Having now laid down his plan of operations, he
applies to nature to furnish him with the means of giving variety and
originality to his work; but to bind her to his purpose, he must have a
settled knowledge of what he is seeking, he must have a quickness