DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0146
132
SCHOOLS OF PAINTING.
and workshops, acquired their lowly style from the frequency of those mean and grotesque figures
they had constantly before their eves.
On a comparison of the ancient with the modern practice of painting, the curious critics have
found it difficult to decide the superiority. En sculpture the ancients undoubtedly excelled : but
in painting it is more generally asserted, though perhaps not strictly true, that the Greeks were
inferior. The chief difference of the two manners consists in the complication of figures, and the
pompous decoration of scenery,, which prevail in the works of the moderns. The productions of
the ancient painters are remarkable for unity, and simplicity, which is evidently not the effect of
incapacity but of a decided choice. Polygnotus, one of their most ancient artists, painted the
Siege of Troy, and introduced also a great number of figures in his Descent of Ulyssus into Hell.
But two, three, or at the most four figures, were the greatest number admissible. Though too great
a number of figures in a piece diverts and distracts the attention of the observer, yet on the other
hand it must be admitted, that we are accustomed to behold numerous assemblages in nature;
and it is an undoubted fact that in an affecting scene a great number of figures may not only be
brought together, but may considerably heighten the distress. Upon a review of the matter, it
appears that the moderns have chosen a more difficult part; and if they have executed it with
success, their merit is so much the greater.
But a more particular view of the subject will lead us to a consideration of the eminence of the
ancient painters in the particular branches of the art. The only evidence on this head must be
derived from the morsels of antiquity which yet remain, and from what ancient writers have said
on the subject of painting, both of which are extremely defective. It is generally allowed, by
every skilful person who has examined the former, that none of them appear the performances of
superior artists, notwithstanding the merit in the design, and the accuracy in the drawing, which
seem the characteristics of all the ancients. The best ancient painting, the supposed Marriage,
in the Aldrobandine Palace, Sir Joshua Reynolds says—" is evidently far short of that degree of
excellence undoubtedly implied in the descriptions of ancient artists, and which from them we
are fairly led to expect." And of the many treatises which we are informed were composed by
the ancients, on the subject of painting, not one work written expressly on the art remains. All
we can collect is from a few desultory remarks and cursory notices, dispersed in essays on other
subjects. We are however by these sufficiently informed that the ancient artists paid particular
attention to design, in which they were so successful as to become the models of, and still remain
unequalled by the moderns. This is the less to be wondered at when we reflect that many of them
united the art of sculpture with that of painting : it was the case with Zeuxis, Protogenes, A pel-
les, &c. And from the antiquities of Hercufaneum, it is evident that many of their artists, even
those of mediocrity, far excelled the moderns in the truth, elegance and spirit of their design.
The same cause, namely their knowledge of sculpture, enabled them to succeed equally in ex-
pression, which is carried to such an unrivalled height, that in their statues we observe not only
the conformity of every feature of the face to produce this effect, but every muscle in the body
contributes towards this great perfection. Neither were they defective in the expression of cha-
racters and manners, Mr. Webb observes; " the ancients thought characters and manners so
essential to painting, that they expressly term picture an art descriptive of manners;" Aristotle
also, in his poetics, says of Polygnotus, " that he was a painter of the manners;" and he men«
tions the deficiency of Zeuxis in this particular. Philostratus gives the following description of a
picture :
SCHOOLS OF PAINTING.
and workshops, acquired their lowly style from the frequency of those mean and grotesque figures
they had constantly before their eves.
On a comparison of the ancient with the modern practice of painting, the curious critics have
found it difficult to decide the superiority. En sculpture the ancients undoubtedly excelled : but
in painting it is more generally asserted, though perhaps not strictly true, that the Greeks were
inferior. The chief difference of the two manners consists in the complication of figures, and the
pompous decoration of scenery,, which prevail in the works of the moderns. The productions of
the ancient painters are remarkable for unity, and simplicity, which is evidently not the effect of
incapacity but of a decided choice. Polygnotus, one of their most ancient artists, painted the
Siege of Troy, and introduced also a great number of figures in his Descent of Ulyssus into Hell.
But two, three, or at the most four figures, were the greatest number admissible. Though too great
a number of figures in a piece diverts and distracts the attention of the observer, yet on the other
hand it must be admitted, that we are accustomed to behold numerous assemblages in nature;
and it is an undoubted fact that in an affecting scene a great number of figures may not only be
brought together, but may considerably heighten the distress. Upon a review of the matter, it
appears that the moderns have chosen a more difficult part; and if they have executed it with
success, their merit is so much the greater.
But a more particular view of the subject will lead us to a consideration of the eminence of the
ancient painters in the particular branches of the art. The only evidence on this head must be
derived from the morsels of antiquity which yet remain, and from what ancient writers have said
on the subject of painting, both of which are extremely defective. It is generally allowed, by
every skilful person who has examined the former, that none of them appear the performances of
superior artists, notwithstanding the merit in the design, and the accuracy in the drawing, which
seem the characteristics of all the ancients. The best ancient painting, the supposed Marriage,
in the Aldrobandine Palace, Sir Joshua Reynolds says—" is evidently far short of that degree of
excellence undoubtedly implied in the descriptions of ancient artists, and which from them we
are fairly led to expect." And of the many treatises which we are informed were composed by
the ancients, on the subject of painting, not one work written expressly on the art remains. All
we can collect is from a few desultory remarks and cursory notices, dispersed in essays on other
subjects. We are however by these sufficiently informed that the ancient artists paid particular
attention to design, in which they were so successful as to become the models of, and still remain
unequalled by the moderns. This is the less to be wondered at when we reflect that many of them
united the art of sculpture with that of painting : it was the case with Zeuxis, Protogenes, A pel-
les, &c. And from the antiquities of Hercufaneum, it is evident that many of their artists, even
those of mediocrity, far excelled the moderns in the truth, elegance and spirit of their design.
The same cause, namely their knowledge of sculpture, enabled them to succeed equally in ex-
pression, which is carried to such an unrivalled height, that in their statues we observe not only
the conformity of every feature of the face to produce this effect, but every muscle in the body
contributes towards this great perfection. Neither were they defective in the expression of cha-
racters and manners, Mr. Webb observes; " the ancients thought characters and manners so
essential to painting, that they expressly term picture an art descriptive of manners;" Aristotle
also, in his poetics, says of Polygnotus, " that he was a painter of the manners;" and he men«
tions the deficiency of Zeuxis in this particular. Philostratus gives the following description of a
picture :