DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0095
BEAUTY. 81
church ; the style and execution of which justly render artists ashamed of their patron
saint.
In this place it may not be improper to observe, that the greatest painters degenerate into an
uniformity, and fall into an error in representing this divine person. Their pictures seem to have
been drawn from a view of his moral character, and display meekness, benevolence, and compas-
sion, mingled with dignity, sometimes with fervour, but never with anger or pride. To represent
him justly, it must, however, be remembered, that he was " a man of sorrow, and acquainted
with grief." Josephus informs us more justly than the inventions of succeeding artists, as there is
not the least reason to suspect his portrait was ever taken. He relates, that " he had been often
seen to weep, but never to laugh." After his resurrection his sorrows and griefs are past, and his
countenance should then display the highest complacency, dignity, and majesty.
Though it may seem beneath the notice of this work to attend to the constantly varying article,
dress, as forming no essential part of a character ; yet, as this trifling appendage is capable of in-
creasing or diminishing the effect of beauty or deformity, it would be unpardonable to pass it over
in silence. Among the constant changes which are, without interruption, imposed upon every arti-
cle in the possession of man, his dress has experienced more alterations, if possible, than any other
article in his power: what a strange variety of shapes and forms has this changeling affected in his
dress, in the different ages and nations of the world, and, according to the relative situation heholds
in society, to give him grace, gravity, or terror. The absurdity of this change is sanctioned by the
name of fashion, and so prevailing is its influence, that a want of some conformity to its rules
might endanger the credit of the understanding of a reasonable man. During our time we can enu-
merate as many differences in our exteriors as any single age of the antediluvian world, before these
things had attained their perfection, and were every day undergoing some improvements. If we
view the changes which take place in a few ages, man appears either to have nearly lost, or greatly
improved, his reason. A few generations back the hair was worn plain, and whiskers accounted an
ornament; to these succeeded enormous black toupees; then white ones; and lastly, again, the hair
assumed its primitive form,but in a curtailed state; not to mention the different forms in which it
has been curled, twisted, or plaited. Revolutions in the garments were equally eccentric ; from
short to long, from long to short; sometimes full and flowing, and again, scanty; each pleading
some excuse, and claiming some elegance peculiar to itself; and each again justly exploded.
Our observations, however, concern chiefly the effect of these exterior embellishments m adding
grace to the figure, .which is so evident, that it need not be insisted upon. It must, however, be re-
marked, that this effect of dress is more than any other quality the creature of prejudice. Is it pos-
sible to conceive a greater contrast in dress than that formed by the ruffs and caps of our'English
forefathers, and the dress of a modem gentleman? None can be insensible of the awe which the
full-bottomed wig and black gown of the gentlemen of the long robe inspires into the populace :
and the military accoutrements of the soldier strengthen our idea of his valour. The managers of
stage representations well know the power of these appendages to character; and in real life the
influence of dress is greater than is generally imagined. In speaking of the article dress, I must
for a moment digress, to warn the student against an error too often committed by modern artists,
and from which some, otherwise good, masters are not wholly free; I mean the representation of
a character in a dress not appropriate: this vicious taste may be justly called painting in masquerade.
It must, be remembered, that the intention of a portrait is to convey the likeness of a person to pos-
y ' ■ terity;
church ; the style and execution of which justly render artists ashamed of their patron
saint.
In this place it may not be improper to observe, that the greatest painters degenerate into an
uniformity, and fall into an error in representing this divine person. Their pictures seem to have
been drawn from a view of his moral character, and display meekness, benevolence, and compas-
sion, mingled with dignity, sometimes with fervour, but never with anger or pride. To represent
him justly, it must, however, be remembered, that he was " a man of sorrow, and acquainted
with grief." Josephus informs us more justly than the inventions of succeeding artists, as there is
not the least reason to suspect his portrait was ever taken. He relates, that " he had been often
seen to weep, but never to laugh." After his resurrection his sorrows and griefs are past, and his
countenance should then display the highest complacency, dignity, and majesty.
Though it may seem beneath the notice of this work to attend to the constantly varying article,
dress, as forming no essential part of a character ; yet, as this trifling appendage is capable of in-
creasing or diminishing the effect of beauty or deformity, it would be unpardonable to pass it over
in silence. Among the constant changes which are, without interruption, imposed upon every arti-
cle in the possession of man, his dress has experienced more alterations, if possible, than any other
article in his power: what a strange variety of shapes and forms has this changeling affected in his
dress, in the different ages and nations of the world, and, according to the relative situation heholds
in society, to give him grace, gravity, or terror. The absurdity of this change is sanctioned by the
name of fashion, and so prevailing is its influence, that a want of some conformity to its rules
might endanger the credit of the understanding of a reasonable man. During our time we can enu-
merate as many differences in our exteriors as any single age of the antediluvian world, before these
things had attained their perfection, and were every day undergoing some improvements. If we
view the changes which take place in a few ages, man appears either to have nearly lost, or greatly
improved, his reason. A few generations back the hair was worn plain, and whiskers accounted an
ornament; to these succeeded enormous black toupees; then white ones; and lastly, again, the hair
assumed its primitive form,but in a curtailed state; not to mention the different forms in which it
has been curled, twisted, or plaited. Revolutions in the garments were equally eccentric ; from
short to long, from long to short; sometimes full and flowing, and again, scanty; each pleading
some excuse, and claiming some elegance peculiar to itself; and each again justly exploded.
Our observations, however, concern chiefly the effect of these exterior embellishments m adding
grace to the figure, .which is so evident, that it need not be insisted upon. It must, however, be re-
marked, that this effect of dress is more than any other quality the creature of prejudice. Is it pos-
sible to conceive a greater contrast in dress than that formed by the ruffs and caps of our'English
forefathers, and the dress of a modem gentleman? None can be insensible of the awe which the
full-bottomed wig and black gown of the gentlemen of the long robe inspires into the populace :
and the military accoutrements of the soldier strengthen our idea of his valour. The managers of
stage representations well know the power of these appendages to character; and in real life the
influence of dress is greater than is generally imagined. In speaking of the article dress, I must
for a moment digress, to warn the student against an error too often committed by modern artists,
and from which some, otherwise good, masters are not wholly free; I mean the representation of
a character in a dress not appropriate: this vicious taste may be justly called painting in masquerade.
It must, be remembered, that the intention of a portrait is to convey the likeness of a person to pos-
y ' ■ terity;