DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0179
LANDSCAPE AND ARCHITECTURE. m
attitude of the figure previous to the one in which it was placed ; and whether for example the
arm was extended or otherwise immediately before the action. This was an expression which he
had carefully studied on all occasions, because he found it in nature.
When the drapery was to cover the leg or arm but half or in an imperfect manner, he made it
cut obliquely the member which was partly to be covered. His folds were of a triangular form.
The reason of this form is in nature : for all drapery has a tendency to enlarge itself and be ex-
tended ; and as at the same time its own weight obliges it to fall back on itself, it is naturally
formed into triangles.
He knew perfectly that the movements of the body and of its members are the causes of the
actual situation of drapery and of the formation of its folds. All his practice is nothing else but-
the unfolding and demonstrating of this theory; and the drapery executed in any other manner
must be in a false and yjcious taste.
SECTION IV.
OF LANDSCAPE AND ARCHITECTURE.
LANDSCAPE is the most extensive branch of the art, both in the objects of its imitation,,
and the number of its professors. Its objects include all those of both nature and art in general.
The painter of landscapes is at liberty to choose whatever he sees most agreeable and delightful
in the universe : to select arrange and dispose of them, within the laws of the costume, in a man-
ner most conducive to the purposes of his art. The animal mineral and vegetable kingdoms are
open to his view, offering him their choicest productions for the exercise of his genius. The ele-
ments earth air and water concur in aiding his design : fertile plains sterile rocks murmuring-ri-
vulets and the boisterous ocean are equally the objects of his imitation : nor do the uninhabited
desart and populous country, with all the various structures erected for the convenience pleasure
pride caprice or superstition of mankind escape his busy hand. Seeing the practice of this branch
of the art is so universally extended, it may easily be concluded that it is to be attained only with
great difficulty, that its successful execution requires the united talents necessary for every other
part of painting. But this is not properly the case : it is true not many have succeeded in land-
scape, notwithstanding the numbers by whom it has been cultivated ; but this is no doubt more
the consequence of proceeding upon erroneous principles than of the extreme difficulty of the
art. It is not to be understood that a landscape painter is to exhibit every object with that mi-
nuteness and particularity necessary in a naturalist's delineation of an insect flower or plant; it
is the general effect only which the painter of true genius endeavours to display : if this be ac-
complished he has effected his aim, and may rest satisfied with his labour and the commendations
of men of taste; leaving the microscopic observer to his far more numerous distinctions, which
in landscape are out of place.
Landscape is so far from being the most difficult part of the art that, in this respect, it has the
advantage of historical painting. The want of expression or proportion in a head or a figure is
obvious to every beholder, and never fails to discredit the artist, because the forms and proportions
of these figures are constant and well known : whereas the proportions and projections ofi>ranches
of trees of buildings, &c. are not governed by such certain and obvious rules : their appearances
it is true depend on the rules of perspective, which are invariable and indubitable; but these rules
are universally governed by the local situation of the artist who takes the view: a failure therefore
2 u in
attitude of the figure previous to the one in which it was placed ; and whether for example the
arm was extended or otherwise immediately before the action. This was an expression which he
had carefully studied on all occasions, because he found it in nature.
When the drapery was to cover the leg or arm but half or in an imperfect manner, he made it
cut obliquely the member which was partly to be covered. His folds were of a triangular form.
The reason of this form is in nature : for all drapery has a tendency to enlarge itself and be ex-
tended ; and as at the same time its own weight obliges it to fall back on itself, it is naturally
formed into triangles.
He knew perfectly that the movements of the body and of its members are the causes of the
actual situation of drapery and of the formation of its folds. All his practice is nothing else but-
the unfolding and demonstrating of this theory; and the drapery executed in any other manner
must be in a false and yjcious taste.
SECTION IV.
OF LANDSCAPE AND ARCHITECTURE.
LANDSCAPE is the most extensive branch of the art, both in the objects of its imitation,,
and the number of its professors. Its objects include all those of both nature and art in general.
The painter of landscapes is at liberty to choose whatever he sees most agreeable and delightful
in the universe : to select arrange and dispose of them, within the laws of the costume, in a man-
ner most conducive to the purposes of his art. The animal mineral and vegetable kingdoms are
open to his view, offering him their choicest productions for the exercise of his genius. The ele-
ments earth air and water concur in aiding his design : fertile plains sterile rocks murmuring-ri-
vulets and the boisterous ocean are equally the objects of his imitation : nor do the uninhabited
desart and populous country, with all the various structures erected for the convenience pleasure
pride caprice or superstition of mankind escape his busy hand. Seeing the practice of this branch
of the art is so universally extended, it may easily be concluded that it is to be attained only with
great difficulty, that its successful execution requires the united talents necessary for every other
part of painting. But this is not properly the case : it is true not many have succeeded in land-
scape, notwithstanding the numbers by whom it has been cultivated ; but this is no doubt more
the consequence of proceeding upon erroneous principles than of the extreme difficulty of the
art. It is not to be understood that a landscape painter is to exhibit every object with that mi-
nuteness and particularity necessary in a naturalist's delineation of an insect flower or plant; it
is the general effect only which the painter of true genius endeavours to display : if this be ac-
complished he has effected his aim, and may rest satisfied with his labour and the commendations
of men of taste; leaving the microscopic observer to his far more numerous distinctions, which
in landscape are out of place.
Landscape is so far from being the most difficult part of the art that, in this respect, it has the
advantage of historical painting. The want of expression or proportion in a head or a figure is
obvious to every beholder, and never fails to discredit the artist, because the forms and proportions
of these figures are constant and well known : whereas the proportions and projections ofi>ranches
of trees of buildings, &c. are not governed by such certain and obvious rules : their appearances
it is true depend on the rules of perspective, which are invariable and indubitable; but these rules
are universally governed by the local situation of the artist who takes the view: a failure therefore
2 u in