DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0123
109
BOOK II.—OF PAINTING.
CHAP. L
of painting in general.
OF all the arts generally included under the appellation of Imitative, that of Painting un-
doubtedly deserves the first rank ; not merely for the beauty and diversity of the tints it affords,
aor that artful disposition of light and shade which often deceives the eye, but for a higher con-
sideration, namely, that of pourtraying nature in the most animated lively and interesting man-
ner. It may be defined, the art of representing, by means of lines shadows and colours, every
visible object in nature; and, moreover, expressing by the lineaments of the countenance and
attitude of the body, the various emotions of the mind. On a smooth surface may be expressed
objects, not only in such a state of projection, if the laws of perspective be observed, and so effec-
tually as to deceive the eye of the unwary beholder. They may be represented also in the most
enchanting dress, and in a manner capable of affording delight to the eye. It is an essential cha-
racteristic of this art, that it addresses itself to the feelings; and inspires us with pity for a suf-
fering victim, with dread of an impending danger, with courage to imitate an heroic example,
and with every other passion that has a seat in the human mind.
From this definition of the art it will naturally be conceived that its successful execution is at-
tended with no small difficulty; it is the reward only of labour and assiduity : and among its
numerous followers, how few arrive at superior excellence ! None can truly appreciate the value
of the art, till they be fully acquainted with the difficulty attending its execution; nor the reward
due to those finished productions, till by their own practical knowledge they are convinced of
the frequent failures of many excellent artists.
The professors of this art are principally divided into two classes, namely, those who speak
to the eye, and those who apply to the mind of the observer. The former comprehends a very
large number, and nearly the whole of the profession, in every country of any single age in
Europe. Among them we may include the generality of portrait painters, painters of landscapes,
and all those who endeavour to convey conceptions to the spectator which are merely agreeable,
but which do not interest the passions, Many of those, undoubtedly, possess considerable merit,
and may be ranked first in the style of decoration and embellishment: but the latter class who
apply to the mind, who by their artful delineation and colouring convey to the spectator those
noble and profound sentiments possessed by themselves, and who are more capable of fixing the
attention than dazzling the eye, are of the highest order of artists, and deserve that degree of
fame which is so liberally bestowed upon those immortal geniuses.
2 f That
BOOK II.—OF PAINTING.
CHAP. L
of painting in general.
OF all the arts generally included under the appellation of Imitative, that of Painting un-
doubtedly deserves the first rank ; not merely for the beauty and diversity of the tints it affords,
aor that artful disposition of light and shade which often deceives the eye, but for a higher con-
sideration, namely, that of pourtraying nature in the most animated lively and interesting man-
ner. It may be defined, the art of representing, by means of lines shadows and colours, every
visible object in nature; and, moreover, expressing by the lineaments of the countenance and
attitude of the body, the various emotions of the mind. On a smooth surface may be expressed
objects, not only in such a state of projection, if the laws of perspective be observed, and so effec-
tually as to deceive the eye of the unwary beholder. They may be represented also in the most
enchanting dress, and in a manner capable of affording delight to the eye. It is an essential cha-
racteristic of this art, that it addresses itself to the feelings; and inspires us with pity for a suf-
fering victim, with dread of an impending danger, with courage to imitate an heroic example,
and with every other passion that has a seat in the human mind.
From this definition of the art it will naturally be conceived that its successful execution is at-
tended with no small difficulty; it is the reward only of labour and assiduity : and among its
numerous followers, how few arrive at superior excellence ! None can truly appreciate the value
of the art, till they be fully acquainted with the difficulty attending its execution; nor the reward
due to those finished productions, till by their own practical knowledge they are convinced of
the frequent failures of many excellent artists.
The professors of this art are principally divided into two classes, namely, those who speak
to the eye, and those who apply to the mind of the observer. The former comprehends a very
large number, and nearly the whole of the profession, in every country of any single age in
Europe. Among them we may include the generality of portrait painters, painters of landscapes,
and all those who endeavour to convey conceptions to the spectator which are merely agreeable,
but which do not interest the passions, Many of those, undoubtedly, possess considerable merit,
and may be ranked first in the style of decoration and embellishment: but the latter class who
apply to the mind, who by their artful delineation and colouring convey to the spectator those
noble and profound sentiments possessed by themselves, and who are more capable of fixing the
attention than dazzling the eye, are of the highest order of artists, and deserve that degree of
fame which is so liberally bestowed upon those immortal geniuses.
2 f That