DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0109
DESIGN. 95
way for him to become great himself. Serpens, nisi serpenttm comederit, nonfrf draco; a serpent,
unless he devour another serpent, will never become a dragon ; is a remark of a whimsical natural
history which I have read, though I do not recollect its title ; however false as to dragons, it *is
applicable enough to artists."
In every picture there is a principal figure whom, in imitation of poets, we call the hero of the
piece : it will sometimes happen that there will be more than one principal character, in which
case it will not be easy to distinguish who is the hero or the heroine. More than ordinary pains
should be bestowed, both in selecting a proper character for the hero and disposing of his situa-
tion. He should appear, if possible, in the midst of the picture, and under the principal light;
or at least be placed so as to distinguish him from all the others, who are only his attendants.
He should outshine the rest of all the characters, and appear the prince of them, like the sun in
the Copernican system, accompanied with the less noble planets: because he is the centre of the
main action ; all the lines drawn from the circumference tend to him alone ; he is the chief ob-
ject of pity in the drama of the poets, and of the spectators' attention amidst the other figures by
whom he is surrounded. The most interesting posture of this personage is in the performance of
some great and noble action ; as an Achilles in the act of killing Hector; or JEneas with the
vanquished Turnus under him. The same hero is often represented in different pieces, under dif-
ferent circumstances, performing different actions, and influenced by other sentiments; but he
should always be great and graceful, the object of our admiration or pity. Thus, when iEneas
is represented as a suppliant to Dido, his attitude should express respect, and humility appear in
his eyes and looks : but when forced in his own defence to kill Lausus, he should be represented
compassionate ; and the severity of his looks tempered with a reluctance to the action. The youth
and beauty of Lausus excite his pity, and he is unw illing to destroy such a master-piece of nature.
He considers Lausus rescuing his father at the hazard of his own life, as an image of himself, when
he took Anchises on his shoulders, and bore him safely through the rage of the fire, and the op-
position of his enemies: therefore, to represent him successfully, he should be drawn in the pos-
ture of a retiring man, who avoids a combat, stretching out his arm in sign of peace, w ith his right
foot drawn a little back, and his breast bending inwards, more like an orator than a soldier; and
seeming to d issuade the young man from hastening his destiny, by attempting more than he is able to
perform. It must, however, be noticed, that the above rule of placing the hero in the midst of the
piece, and under the principal light, is so far from being generally followed, that it is seldom prac-
tised by the best masters, though delivered as a rule to the student. By a strict attention to this
precept the artist would encounter numerous and unforeseen difficulties; acquire a dry uniform
manner of composition, and be prevented from bestowing upon his piece many exquisite beauties.
The intention of the rule is to direct the artist to place his principal figure in such a manner, that
it be immediately distinguished at the first glance of the eye, either by its situation, by the atten-
tion of other figures pointing it out to the spectator, or by some other circumstances. Raphael
has illustrated this observation in the Cartoons, in Christ's Charge to Peter, the Preaching of St.
Paid, and Plymas the Sorcerer. In none of these is the principal figure in the midst of the piece ;
and in that admirable piece, The Tent of Darius, by Le Brun, Alexander the hero of the piece is
neither in the midst, nor does the strongest light fall upon him; but, from the attention of the
other figures, he is easily distinguished. In the middle of the piece, and consequently in the
strongest light, is the daughter of Darius, who is but a secondary character.
The
way for him to become great himself. Serpens, nisi serpenttm comederit, nonfrf draco; a serpent,
unless he devour another serpent, will never become a dragon ; is a remark of a whimsical natural
history which I have read, though I do not recollect its title ; however false as to dragons, it *is
applicable enough to artists."
In every picture there is a principal figure whom, in imitation of poets, we call the hero of the
piece : it will sometimes happen that there will be more than one principal character, in which
case it will not be easy to distinguish who is the hero or the heroine. More than ordinary pains
should be bestowed, both in selecting a proper character for the hero and disposing of his situa-
tion. He should appear, if possible, in the midst of the picture, and under the principal light;
or at least be placed so as to distinguish him from all the others, who are only his attendants.
He should outshine the rest of all the characters, and appear the prince of them, like the sun in
the Copernican system, accompanied with the less noble planets: because he is the centre of the
main action ; all the lines drawn from the circumference tend to him alone ; he is the chief ob-
ject of pity in the drama of the poets, and of the spectators' attention amidst the other figures by
whom he is surrounded. The most interesting posture of this personage is in the performance of
some great and noble action ; as an Achilles in the act of killing Hector; or JEneas with the
vanquished Turnus under him. The same hero is often represented in different pieces, under dif-
ferent circumstances, performing different actions, and influenced by other sentiments; but he
should always be great and graceful, the object of our admiration or pity. Thus, when iEneas
is represented as a suppliant to Dido, his attitude should express respect, and humility appear in
his eyes and looks : but when forced in his own defence to kill Lausus, he should be represented
compassionate ; and the severity of his looks tempered with a reluctance to the action. The youth
and beauty of Lausus excite his pity, and he is unw illing to destroy such a master-piece of nature.
He considers Lausus rescuing his father at the hazard of his own life, as an image of himself, when
he took Anchises on his shoulders, and bore him safely through the rage of the fire, and the op-
position of his enemies: therefore, to represent him successfully, he should be drawn in the pos-
ture of a retiring man, who avoids a combat, stretching out his arm in sign of peace, w ith his right
foot drawn a little back, and his breast bending inwards, more like an orator than a soldier; and
seeming to d issuade the young man from hastening his destiny, by attempting more than he is able to
perform. It must, however, be noticed, that the above rule of placing the hero in the midst of the
piece, and under the principal light, is so far from being generally followed, that it is seldom prac-
tised by the best masters, though delivered as a rule to the student. By a strict attention to this
precept the artist would encounter numerous and unforeseen difficulties; acquire a dry uniform
manner of composition, and be prevented from bestowing upon his piece many exquisite beauties.
The intention of the rule is to direct the artist to place his principal figure in such a manner, that
it be immediately distinguished at the first glance of the eye, either by its situation, by the atten-
tion of other figures pointing it out to the spectator, or by some other circumstances. Raphael
has illustrated this observation in the Cartoons, in Christ's Charge to Peter, the Preaching of St.
Paid, and Plymas the Sorcerer. In none of these is the principal figure in the midst of the piece ;
and in that admirable piece, The Tent of Darius, by Le Brun, Alexander the hero of the piece is
neither in the midst, nor does the strongest light fall upon him; but, from the attention of the
other figures, he is easily distinguished. In the middle of the piece, and consequently in the
strongest light, is the daughter of Darius, who is but a secondary character.
The