DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0153
PAINTER'S STUDIES. 150
" If we suppose/' says an eminent painter, " a view of nature represented with all the truth
of the camera obscura, and the same scene represented by a great artist, how little and mean will
the one appear in comparison of the other, where.no superiority is supposed from the choice
of the subject. The scene shall be the same, the difference on!}' will be in the manner in which
it is presented to the eye. With what additional superiority then will the same artist appear
when he has the power of selecting his materials, as well as elevating his style ? Like Nicholas
Poussin, he transports us to the environs of ancient Rome, with all the objects which a literary
education makes so precious and interesting to man : or like Sebastian Bourdon he leads us to
the dark tranquillity of Arcadian scenes and fairy land.
" Like the history-painter a painter of landscapes, in this style and with this conduct, sends
the imagination back into antiquity ; and like the poet he makes the elements sympathize with
his subject: whether ihe clouds roll in volumes, like those of Titian or Salvator Rosa, or like those-
of Claude Lorraine are gilded with the setting sun ; whether the mountains have sudden and
bold projections or are gently sloped ; whether the branches of his trees shoot out abruptly in
right angles from their trunks, or follow each other with only a gentle inclination. All these
circumstances contribute to the general character of the work, whether it be of the elegant or of
the more sublime kind. If we add to this the powerful materials of lightness and darkness, over
which the artist has complete dominion, to vary and dispose them as he please; to diminish or
increase thein as will best suit his purpose and correspond to the general idea of his work ; a
landscape thus conducted, under the influence of a poetical mind, will have the same superiority
over the more ordinary and common views, as Milton's Atho-ro and Penseroso have over a cold
mi 7 O
prosaic narration or description ; and such a picture would make a more forcible impression on
the mind than even the real scenes, were they presented before us."
Thus it appears that an artist should have a mind enlightened with a general knowledge of
science ; but this is not sufficient: he should be acquainted both with historical facts and the
principal epic histories. Those who imagine that a painter stands in need of nothing more than
a few casts of the remains of antiquity, with some other reiicsrare greatly deceived. Algarotti
observes that such things are no doubt necessary to a painter, and perhaps enough for one who
wants only to paint half lengths, or is willing to confine himself to a few low subjects: but they
are by no means sufficient for him who would soar higher ; for the painter who would attempt
the universe, and represent it in all its parts, such as imagination might form it; such a painter
alone is a true—an universal—a perfect painter. And though none can expect to attain this
high degree of eminence, yet all should aspire towards it. on the pain of ever continuing at a
very mortifying distance from it. It is necessary to have this idea of a perfect painter in our
mind, as a pattern to excite emulation. Without some such incentives the mind would degene-
rate into torpidity; the artist would dose over his work; and go on copying without improving.,
and painting but without success.
He must possess that knowledge of history as to be able to transport his admirers-, two or three
thousand years back, into antiquity. He need not be toid that the rides of the costume are to be
observed, and that the manners, dresses, and the like of the age in which his characters li\ed, are
to be justly expressed: directions upon this subject are given hereafter: but there are many
minute particulars too numerous anti diffused to be mentioned in this place, with regaid to the
costume and the principles of good sense, which must always be attended to; and for the ob-
ser vanes
" If we suppose/' says an eminent painter, " a view of nature represented with all the truth
of the camera obscura, and the same scene represented by a great artist, how little and mean will
the one appear in comparison of the other, where.no superiority is supposed from the choice
of the subject. The scene shall be the same, the difference on!}' will be in the manner in which
it is presented to the eye. With what additional superiority then will the same artist appear
when he has the power of selecting his materials, as well as elevating his style ? Like Nicholas
Poussin, he transports us to the environs of ancient Rome, with all the objects which a literary
education makes so precious and interesting to man : or like Sebastian Bourdon he leads us to
the dark tranquillity of Arcadian scenes and fairy land.
" Like the history-painter a painter of landscapes, in this style and with this conduct, sends
the imagination back into antiquity ; and like the poet he makes the elements sympathize with
his subject: whether ihe clouds roll in volumes, like those of Titian or Salvator Rosa, or like those-
of Claude Lorraine are gilded with the setting sun ; whether the mountains have sudden and
bold projections or are gently sloped ; whether the branches of his trees shoot out abruptly in
right angles from their trunks, or follow each other with only a gentle inclination. All these
circumstances contribute to the general character of the work, whether it be of the elegant or of
the more sublime kind. If we add to this the powerful materials of lightness and darkness, over
which the artist has complete dominion, to vary and dispose them as he please; to diminish or
increase thein as will best suit his purpose and correspond to the general idea of his work ; a
landscape thus conducted, under the influence of a poetical mind, will have the same superiority
over the more ordinary and common views, as Milton's Atho-ro and Penseroso have over a cold
mi 7 O
prosaic narration or description ; and such a picture would make a more forcible impression on
the mind than even the real scenes, were they presented before us."
Thus it appears that an artist should have a mind enlightened with a general knowledge of
science ; but this is not sufficient: he should be acquainted both with historical facts and the
principal epic histories. Those who imagine that a painter stands in need of nothing more than
a few casts of the remains of antiquity, with some other reiicsrare greatly deceived. Algarotti
observes that such things are no doubt necessary to a painter, and perhaps enough for one who
wants only to paint half lengths, or is willing to confine himself to a few low subjects: but they
are by no means sufficient for him who would soar higher ; for the painter who would attempt
the universe, and represent it in all its parts, such as imagination might form it; such a painter
alone is a true—an universal—a perfect painter. And though none can expect to attain this
high degree of eminence, yet all should aspire towards it. on the pain of ever continuing at a
very mortifying distance from it. It is necessary to have this idea of a perfect painter in our
mind, as a pattern to excite emulation. Without some such incentives the mind would degene-
rate into torpidity; the artist would dose over his work; and go on copying without improving.,
and painting but without success.
He must possess that knowledge of history as to be able to transport his admirers-, two or three
thousand years back, into antiquity. He need not be toid that the rides of the costume are to be
observed, and that the manners, dresses, and the like of the age in which his characters li\ed, are
to be justly expressed: directions upon this subject are given hereafter: but there are many
minute particulars too numerous anti diffused to be mentioned in this place, with regaid to the
costume and the principles of good sense, which must always be attended to; and for the ob-
ser vanes