DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0126
112 PAINTING.
among the several parts, and every other requisite that concurs to the production of a finished
piece. This practice will regulate and assist his natural talents. But to attain this excellence
he must be acquainted with the opinions and and reflections of the greatest masters, on every
material part. He must constantly and assiduously study the great modejs of beauty immedi-
ately connected with his pursuits; and finally make his own observations on the properties of all
those objects which relate to his art.
The third general rule is to imitate nature. Every object in the universe has its peculiarnature,
which the artist should always study to imitate in a proper manner. The most profuse ornaments
and brilliant strokes, without a due attention to this great model, will never render his work per-
fect. This rule, though so obvious and necessary, has been too much neglected even by those
who are justly considered as the founders of their respective arts. The sublime Homer has sinned
against this precept, by representing his deities, who are supposed to be of a more refined and
superior nature than mankind, vicious and depraved, vulgar and ridiculous, and that to a degree
which would be unpardonable in a frail human being. This is a gross violation of this funda-
mental rule; others there are, easily committed, and less readily detected. It was not natural
to make a hero, at the most critical moment of a decisive battle, deliver a long tedious harangue
which could not be heard by the thousandth part of a numerous army. I have mentioned
these two instances of the violation of this rule by the father and prince of poets, to shew the
student the danger of neglecting this direction. Numberless are the offences of this nature com-
mitted by artists, many of them eminent ones ; they «re strewed over some of the greatest beau-
ties of art. Neither is this to be wondered at, for'fbis imitation of nature, at first view so simple
and easy, is of all things the most difficult in practice : it requires a more than ordinary pene-
tration, and a power of expression rarely to be met with.
The fourth general rule is perspicuity. Nothing is more destructive to beauty and elegance,
in all the fine arts, than an obscure ambiguous expression, encumbered with elaborate descrip-
tions, and perplexed with too much contrast. While, on the other hand, plainness and per-
spicuity impart an inseparable beauty to composition of every kind m each of the arts. Beauty
must also be evident and striking to the most ignorant, as well as to the most learned; otherwise
it ceases to be beauty : that beauty which requires an explanation is at best but a spurious kind.,
and neither deserves the artist's attention, nor will it merit general approbation. A happy union
of perspicuity with a just imitation of nature, seldom fails of attracting general admiration : and
though other requisites may be wanting, those alone are sufficient at least to preserve a production
of art from oblivion.
Elevation of sentiment forms the fifth general rule in the pursuit of art. This enables us to
express each object in the greatest perfection of which it is susceptible; and thereby we imi-
tate nature in her most exalted beauty. The artist must always raise his mind above his subject,
to excite pleasure in others: he should choose the most favourable light wherein to place it;
should there embellish it with the greatest, most noble, and beautiful ornaments that his imagin-
tion can suggest, without departing from the imitation of his great model nature.
Sublimity may be considered as the next and last general rule of art. It arises from the junc-
tion of the greatest perspicuity with the most exalted sentiment. The most common subjects are
as susceptible of being rendered sublime, according to their nature, as the most elevated. A poem.,
a prose composition,, a painting, are all equally capable of sublimity. Truth also forms a princi-
pal
among the several parts, and every other requisite that concurs to the production of a finished
piece. This practice will regulate and assist his natural talents. But to attain this excellence
he must be acquainted with the opinions and and reflections of the greatest masters, on every
material part. He must constantly and assiduously study the great modejs of beauty immedi-
ately connected with his pursuits; and finally make his own observations on the properties of all
those objects which relate to his art.
The third general rule is to imitate nature. Every object in the universe has its peculiarnature,
which the artist should always study to imitate in a proper manner. The most profuse ornaments
and brilliant strokes, without a due attention to this great model, will never render his work per-
fect. This rule, though so obvious and necessary, has been too much neglected even by those
who are justly considered as the founders of their respective arts. The sublime Homer has sinned
against this precept, by representing his deities, who are supposed to be of a more refined and
superior nature than mankind, vicious and depraved, vulgar and ridiculous, and that to a degree
which would be unpardonable in a frail human being. This is a gross violation of this funda-
mental rule; others there are, easily committed, and less readily detected. It was not natural
to make a hero, at the most critical moment of a decisive battle, deliver a long tedious harangue
which could not be heard by the thousandth part of a numerous army. I have mentioned
these two instances of the violation of this rule by the father and prince of poets, to shew the
student the danger of neglecting this direction. Numberless are the offences of this nature com-
mitted by artists, many of them eminent ones ; they «re strewed over some of the greatest beau-
ties of art. Neither is this to be wondered at, for'fbis imitation of nature, at first view so simple
and easy, is of all things the most difficult in practice : it requires a more than ordinary pene-
tration, and a power of expression rarely to be met with.
The fourth general rule is perspicuity. Nothing is more destructive to beauty and elegance,
in all the fine arts, than an obscure ambiguous expression, encumbered with elaborate descrip-
tions, and perplexed with too much contrast. While, on the other hand, plainness and per-
spicuity impart an inseparable beauty to composition of every kind m each of the arts. Beauty
must also be evident and striking to the most ignorant, as well as to the most learned; otherwise
it ceases to be beauty : that beauty which requires an explanation is at best but a spurious kind.,
and neither deserves the artist's attention, nor will it merit general approbation. A happy union
of perspicuity with a just imitation of nature, seldom fails of attracting general admiration : and
though other requisites may be wanting, those alone are sufficient at least to preserve a production
of art from oblivion.
Elevation of sentiment forms the fifth general rule in the pursuit of art. This enables us to
express each object in the greatest perfection of which it is susceptible; and thereby we imi-
tate nature in her most exalted beauty. The artist must always raise his mind above his subject,
to excite pleasure in others: he should choose the most favourable light wherein to place it;
should there embellish it with the greatest, most noble, and beautiful ornaments that his imagin-
tion can suggest, without departing from the imitation of his great model nature.
Sublimity may be considered as the next and last general rule of art. It arises from the junc-
tion of the greatest perspicuity with the most exalted sentiment. The most common subjects are
as susceptible of being rendered sublime, according to their nature, as the most elevated. A poem.,
a prose composition,, a painting, are all equally capable of sublimity. Truth also forms a princi-
pal