DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0097
BEAUTY. S3
perpetual doubt; and in this art in particular, and as a great master expresses it, " are obliged
to feel out their way with their pencil, just as the blind with their sticks feel for the turnings of
the streets, with which they are not acquainted."
A great error is often committed by those who hare the education of vouth in suffering: them
to proceed too hastily in this art: boys are frequently sent to an academy to copy after figures,
before they acquire a knowledge of symmetry and proportion. They should be first taught the
beauties of those precious remains of antiquity ; by this means they will be able to improve upon
real life, and have such an exact knowledge of symmetry and contour as to be able to correct na-
ture, and discover the faults of any figure, whether they be in disproportion, or clumsiness.
It must be confessed, that these directions may be attended with some clanger, if carried to the
extreme; which is the reason that some renounce all attention to the antique, and contend that
too slavish an imitation of statues gives the young painter a hard and dry manner; and too servile
an observance of anatomy, a habit of representing the muscles and bones too apparent: for the
utmost bounds of his art are only to imitate nature, which, besides a certain peculiar grace and
liveliness, possesses that ease, simplicity, and softness, not to be expected in the works of art, or
in those of nature, when deprived of life. To these it may be answered, that these are introduc-
tory rules only, and to assist the painter's judgment, but not to guide his pencil. It may also be-
urged, that Poussin himself has sometimes degenerated into a dry stiff style; and Michael Angelo
has very often given his figures too muscular an appeamnce : but these instances certainly do not
warrant the neglect of these perfect models; they only serve to show that the greatest men are
not infallible; and are useful beacons to warn the young artist against extremes, and teach him
the necessity of tempering and qualifying every property with its opposite..
It has, however, been justly remarked, that the ancients were not so happy in the representation
of the bodies of infants as in those of grown persons. Yet the Venus of Gnidus, by Praxiteles,
was not more famous than his Cupid, on whose account alone the people flocked to Thespiae;
but in general the ancients knew not how to impart that softness and effeminacy which Flamingo
afterwards attained. These first sketches of nature seldom occured in the artist's practice, their
labours being generally confined to the representation of their deities, in which they often so.
much excelled, that with these gods were worshipped the artist who produced them. They
seldom undertook to represent children under four or five years old, at which age the superfluous
humours of the body being in some measure abated, their members begin to assume such a con-
tour and proportion as to indicate their future form.
Manv masters have delivered it as a fundamental rule, that an artist should be so far master of
his art as to stand in no need of a pattern, but be able to avail himself of every natural beauty
which falls in his way, and vary it according to circumstances. This is, indeed, a finished part
of practice, and not to be acquired but by intense and close application. The student must con-
fine himself for some time to mere design, and not attempt colouring till he be master of a correct
contour or outline. Neither need he fear spoiling his hand or style in this pursuit; when he
begins to draw after life his pencil will soon acquire freedom. Poussin has declared,that " colours
in painting are, in regard tothe eye, what numbers in poetry are in regard to the ear; so many charms
to allure and captivate the sense." By a parity of reasoning we may affirm, that design, in the
^ame art, is what propriety of language is in writing, and a just utterance of sounds in music :
and notwithstanding all that has been said by secondary connoisseurs in objection to all rules,
and
perpetual doubt; and in this art in particular, and as a great master expresses it, " are obliged
to feel out their way with their pencil, just as the blind with their sticks feel for the turnings of
the streets, with which they are not acquainted."
A great error is often committed by those who hare the education of vouth in suffering: them
to proceed too hastily in this art: boys are frequently sent to an academy to copy after figures,
before they acquire a knowledge of symmetry and proportion. They should be first taught the
beauties of those precious remains of antiquity ; by this means they will be able to improve upon
real life, and have such an exact knowledge of symmetry and contour as to be able to correct na-
ture, and discover the faults of any figure, whether they be in disproportion, or clumsiness.
It must be confessed, that these directions may be attended with some clanger, if carried to the
extreme; which is the reason that some renounce all attention to the antique, and contend that
too slavish an imitation of statues gives the young painter a hard and dry manner; and too servile
an observance of anatomy, a habit of representing the muscles and bones too apparent: for the
utmost bounds of his art are only to imitate nature, which, besides a certain peculiar grace and
liveliness, possesses that ease, simplicity, and softness, not to be expected in the works of art, or
in those of nature, when deprived of life. To these it may be answered, that these are introduc-
tory rules only, and to assist the painter's judgment, but not to guide his pencil. It may also be-
urged, that Poussin himself has sometimes degenerated into a dry stiff style; and Michael Angelo
has very often given his figures too muscular an appeamnce : but these instances certainly do not
warrant the neglect of these perfect models; they only serve to show that the greatest men are
not infallible; and are useful beacons to warn the young artist against extremes, and teach him
the necessity of tempering and qualifying every property with its opposite..
It has, however, been justly remarked, that the ancients were not so happy in the representation
of the bodies of infants as in those of grown persons. Yet the Venus of Gnidus, by Praxiteles,
was not more famous than his Cupid, on whose account alone the people flocked to Thespiae;
but in general the ancients knew not how to impart that softness and effeminacy which Flamingo
afterwards attained. These first sketches of nature seldom occured in the artist's practice, their
labours being generally confined to the representation of their deities, in which they often so.
much excelled, that with these gods were worshipped the artist who produced them. They
seldom undertook to represent children under four or five years old, at which age the superfluous
humours of the body being in some measure abated, their members begin to assume such a con-
tour and proportion as to indicate their future form.
Manv masters have delivered it as a fundamental rule, that an artist should be so far master of
his art as to stand in no need of a pattern, but be able to avail himself of every natural beauty
which falls in his way, and vary it according to circumstances. This is, indeed, a finished part
of practice, and not to be acquired but by intense and close application. The student must con-
fine himself for some time to mere design, and not attempt colouring till he be master of a correct
contour or outline. Neither need he fear spoiling his hand or style in this pursuit; when he
begins to draw after life his pencil will soon acquire freedom. Poussin has declared,that " colours
in painting are, in regard tothe eye, what numbers in poetry are in regard to the ear; so many charms
to allure and captivate the sense." By a parity of reasoning we may affirm, that design, in the
^ame art, is what propriety of language is in writing, and a just utterance of sounds in music :
and notwithstanding all that has been said by secondary connoisseurs in objection to all rules,
and