DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0181
LANDSCAPE AND ARCHITECTURE. 167
hamlets, Sec.; and consequent!}' is nothing more than mere copying. It is common to suppose
that genius is not requisite in this case, but this is a great mistake ; for an artist of merit, in taking
a view even of an individual spot, from the subjects of which he may not depart, will however di-
versify and enliven the scene with such apt and sufficient accessaries, as greatly to improve the
real and crude appearance of the place, and gain the admiration of the spectator by the embel-
lishments he bestows on nature. By these means he renders a scene otherwise barren and desti-
tute of agreeable objects sufficiently pleasing to interest the observer: where nature abounds in
pleasing or delightful subjects, though the necessity of his additions be superseded by nature her-
self, yet he still, by his skilful management of his subject, his judicious display of the chiaro os-
curo, and his artful management of colours, greatly improves the prospect; and thereby attains
the true ideal beauty of the art.
In the study of landscape the learner will find the chief difficulty to consist in handling trees.
This obstacle must nevertheless be overcome, as they form the greatest and essential ornaments
of landscape. A particular attention therefore to their forms and disposition, &c. should make
a principal part of the artist's study; the particular rules for which are hereafter delivered.
Having gained the requisite knowledge of the form of trees, verdure, and turfing, or the repre-
sentation of the ground, by observation and reflections on nature herself, the works of great mas-
ters are the next object of the painter's study. Copies of most of those deserving his attention
have been greatly multiplied by means of copper-plates, from an imitation of which the young
painter may derive more benefit and obtain truer ideas than from copying the paintings them-
selves. Du Piles recommends to the young painter the imitation of Titian's wooden prints where
the trees are well shaped; and also those engraved by Cornelius Cort, from Augustine Carracci.
He affirms that the most probable ways to obtain excellence are, above all things, to contract a
habit of imitating the touches of these great masters, and of considering, at the same time, the
perspective of the branches and foliage, and observing their appearances in every direction, when
seen from below or from above, in front or in profile. These copies a re to be taken-with the pen
or crayon; and the learner must confine himself to this practice till he be able to describe an
accurate outline; after which he may with the pencil imitate those touches which are most dis-
tinctly specified. But if a sight of these originals cannot be obtained, there are others which
are well recommended for their touching, as those of Fouquier who is a most excellent model in
landscape. Paul Bril, Breugel and Bourdon are also very good models; their neat lively and
thin touches render them very suitable examples to the student.
In recommending patterns to the student to copy it may be proper to state the respective merits
of the most eminent in this branch of the art.
Poussin, Titian, and Claude Lorrain undoubtedly excelled all others in landscape in particular.
The productions of Poussin are perhaps the most striking. They are ornamented with the greatest
art and labour; enriched with buildings of a peculiar style ; they abound with literary subjects,
as poets reciting their verses to the woods, and youths exercising themselves in the gymnastic
sports of antiquity. But on a closer and more critical survey our astonishment somewhat de-
creases. We discover, it is true, great art and address in the work; and in the artist we perceive
a man of indefatigable diligence; but truth is too much sacrificed to ornament, and nature resigns
her place to art.
Titian has justly been called the great confident of nature: he is in landscape what Hornet
is
hamlets, Sec.; and consequent!}' is nothing more than mere copying. It is common to suppose
that genius is not requisite in this case, but this is a great mistake ; for an artist of merit, in taking
a view even of an individual spot, from the subjects of which he may not depart, will however di-
versify and enliven the scene with such apt and sufficient accessaries, as greatly to improve the
real and crude appearance of the place, and gain the admiration of the spectator by the embel-
lishments he bestows on nature. By these means he renders a scene otherwise barren and desti-
tute of agreeable objects sufficiently pleasing to interest the observer: where nature abounds in
pleasing or delightful subjects, though the necessity of his additions be superseded by nature her-
self, yet he still, by his skilful management of his subject, his judicious display of the chiaro os-
curo, and his artful management of colours, greatly improves the prospect; and thereby attains
the true ideal beauty of the art.
In the study of landscape the learner will find the chief difficulty to consist in handling trees.
This obstacle must nevertheless be overcome, as they form the greatest and essential ornaments
of landscape. A particular attention therefore to their forms and disposition, &c. should make
a principal part of the artist's study; the particular rules for which are hereafter delivered.
Having gained the requisite knowledge of the form of trees, verdure, and turfing, or the repre-
sentation of the ground, by observation and reflections on nature herself, the works of great mas-
ters are the next object of the painter's study. Copies of most of those deserving his attention
have been greatly multiplied by means of copper-plates, from an imitation of which the young
painter may derive more benefit and obtain truer ideas than from copying the paintings them-
selves. Du Piles recommends to the young painter the imitation of Titian's wooden prints where
the trees are well shaped; and also those engraved by Cornelius Cort, from Augustine Carracci.
He affirms that the most probable ways to obtain excellence are, above all things, to contract a
habit of imitating the touches of these great masters, and of considering, at the same time, the
perspective of the branches and foliage, and observing their appearances in every direction, when
seen from below or from above, in front or in profile. These copies a re to be taken-with the pen
or crayon; and the learner must confine himself to this practice till he be able to describe an
accurate outline; after which he may with the pencil imitate those touches which are most dis-
tinctly specified. But if a sight of these originals cannot be obtained, there are others which
are well recommended for their touching, as those of Fouquier who is a most excellent model in
landscape. Paul Bril, Breugel and Bourdon are also very good models; their neat lively and
thin touches render them very suitable examples to the student.
In recommending patterns to the student to copy it may be proper to state the respective merits
of the most eminent in this branch of the art.
Poussin, Titian, and Claude Lorrain undoubtedly excelled all others in landscape in particular.
The productions of Poussin are perhaps the most striking. They are ornamented with the greatest
art and labour; enriched with buildings of a peculiar style ; they abound with literary subjects,
as poets reciting their verses to the woods, and youths exercising themselves in the gymnastic
sports of antiquity. But on a closer and more critical survey our astonishment somewhat de-
creases. We discover, it is true, great art and address in the work; and in the artist we perceive
a man of indefatigable diligence; but truth is too much sacrificed to ornament, and nature resigns
her place to art.
Titian has justly been called the great confident of nature: he is in landscape what Hornet
is