DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0102
88
INVENTION,
ning or invention, of the rjiece; the sketching out of the first line; and the finishing part. Arid
if, for the sake of dispatch, an experienced artist requires assistance, it is in the middle stage
only that he can receive it: the invention, and the finishing touches, must be the work of his
own hand.
Invention, in the language of an artist, carries with it a different meaning, from the invention
of the poet. The artist not being left at liberty to fabricate a story, and create characters at plea-
sure : his business is to take some well-known portion of history, and form it, in his imagination,
in such a manner as may best suit the purposes of his art. The subject may be wholly borrowed
from poets, historians, or even popular tradition. Though this, upon a superficial view, may ap-
pear no difficult task ; yet its successful execution will be found to occupy all the powers of native
and acquired genius; and that in a greater degree, perhaps, than if the artist were left at liberty
to invent the story itself. He is, in a manner, under an obligation to borrow his subject from
some notorious circumstance : for, except it be a familiar subject, it will more puzzle than de-
light the spectators : thus, the chief merit of an artist's invention lies in translating the ideas he
has received into another ait, and new modelling the whole story ; adding, or retrenching, as he
thinks proper, without departing from generally received opinions. And having conceived im-
pressions of the sublime and pathetic nature in intellect, he must be able to transfer these appear-
ances to his pieces, so as to strike an unwary beholder; in which the ne plus ultra of his art con-
sists. Invention not only includes what belongs to the composition of the different parts of the
same piece, but also the secondary qualifications of an artist, viz. the management of the back
ground ; the effect of light and shade; and the attitude and drapery of the figure, &c. so that
under this head are included all the principal and inferior considerations.
Though invention be the first and most essential qualification of an artist, yet no rule ever was,
or can be given to enable the student to make this valuable acquisition. A happy genius is the
gift of nature alone : but there are many directions delivered concerning his improvement in this
part, which, from its indispensable nature, must not be neglected. With regard to the choice of
his subject, the artist, though denied the latitude of the poet, viz. to pourtray nature in every age
and circumstance, yet need by no means complain of the scantiness of his materials. It is true,
the historical painter is confined to those subjects which have been rendered objects of general ad-
miration ; but they may be taken either from the poet, sacred or profane historian ; and though
it has been said that fiction isthe essence of both poetry and painting, yet we may remark, that the
most valuable pieces are subjects of sacred writ. The artist must display a discriminating taste in
the choice of his story : for every occurence of history will not suit his purpose. His subject
should possess nothing immoral, low, or obscene. T ita proba est is no excuse for an artist, any
more than a poet; notwithstanding the licentiousness of Catullus, Ovid, &c. among the latter,
and some few inferior characters of the former class. In the works of the greatest geniuses, both,
in poetr\r and painting, morality is a principal consideration. We meet with nothing immoral in
Virgil ; the adventure of the Cave, where Dido and iEneas were driven by the storm, in that au-
thor has been censured ; but even there the poet feigns a marriage before the consummation, at
which Juno herself was present: nor is there any expression in the whole stoiy which a Roman
matron might not read without a blush. No artist, I presume, with the least rectitude of taste,
would choose this cavern for the subject of his pencil; and still more improbable it is to expect
such a subject would meet with commendation. How far this art maybe rendered subservient
to
INVENTION,
ning or invention, of the rjiece; the sketching out of the first line; and the finishing part. Arid
if, for the sake of dispatch, an experienced artist requires assistance, it is in the middle stage
only that he can receive it: the invention, and the finishing touches, must be the work of his
own hand.
Invention, in the language of an artist, carries with it a different meaning, from the invention
of the poet. The artist not being left at liberty to fabricate a story, and create characters at plea-
sure : his business is to take some well-known portion of history, and form it, in his imagination,
in such a manner as may best suit the purposes of his art. The subject may be wholly borrowed
from poets, historians, or even popular tradition. Though this, upon a superficial view, may ap-
pear no difficult task ; yet its successful execution will be found to occupy all the powers of native
and acquired genius; and that in a greater degree, perhaps, than if the artist were left at liberty
to invent the story itself. He is, in a manner, under an obligation to borrow his subject from
some notorious circumstance : for, except it be a familiar subject, it will more puzzle than de-
light the spectators : thus, the chief merit of an artist's invention lies in translating the ideas he
has received into another ait, and new modelling the whole story ; adding, or retrenching, as he
thinks proper, without departing from generally received opinions. And having conceived im-
pressions of the sublime and pathetic nature in intellect, he must be able to transfer these appear-
ances to his pieces, so as to strike an unwary beholder; in which the ne plus ultra of his art con-
sists. Invention not only includes what belongs to the composition of the different parts of the
same piece, but also the secondary qualifications of an artist, viz. the management of the back
ground ; the effect of light and shade; and the attitude and drapery of the figure, &c. so that
under this head are included all the principal and inferior considerations.
Though invention be the first and most essential qualification of an artist, yet no rule ever was,
or can be given to enable the student to make this valuable acquisition. A happy genius is the
gift of nature alone : but there are many directions delivered concerning his improvement in this
part, which, from its indispensable nature, must not be neglected. With regard to the choice of
his subject, the artist, though denied the latitude of the poet, viz. to pourtray nature in every age
and circumstance, yet need by no means complain of the scantiness of his materials. It is true,
the historical painter is confined to those subjects which have been rendered objects of general ad-
miration ; but they may be taken either from the poet, sacred or profane historian ; and though
it has been said that fiction isthe essence of both poetry and painting, yet we may remark, that the
most valuable pieces are subjects of sacred writ. The artist must display a discriminating taste in
the choice of his story : for every occurence of history will not suit his purpose. His subject
should possess nothing immoral, low, or obscene. T ita proba est is no excuse for an artist, any
more than a poet; notwithstanding the licentiousness of Catullus, Ovid, &c. among the latter,
and some few inferior characters of the former class. In the works of the greatest geniuses, both,
in poetr\r and painting, morality is a principal consideration. We meet with nothing immoral in
Virgil ; the adventure of the Cave, where Dido and iEneas were driven by the storm, in that au-
thor has been censured ; but even there the poet feigns a marriage before the consummation, at
which Juno herself was present: nor is there any expression in the whole stoiy which a Roman
matron might not read without a blush. No artist, I presume, with the least rectitude of taste,
would choose this cavern for the subject of his pencil; and still more improbable it is to expect
such a subject would meet with commendation. How far this art maybe rendered subservient
to