DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0197
DISPOSITION.
183
action, the parts of which have very close dependency each on the other; or where any remark-
able point or turn of verbal expression makes a part of the excellence of the story ; or again,
where it has its effect from allusion to circumstances not actually present. An instance of this
kind of subject is given by Sir Joshua Reynolds, as having been recommended to a painter by a
very distinguished person, but who, as it appears was but little conversant with painting. It
was what is related, in Dalrymple's Memoirs of Great Britain, to have passed between James II.
and the old Ear) of Bedford, in the council held just before the revolution. This is doubtless a
very striking piece of history, but so far from being a proper subject for a picture, that it pos-
sesses not one necessary qualification. It marks no general or intelligible action or passion ; it
has a retrospect to other circumstances in history of a very complicated nature ; and it is neces-
sarily deficient in that variety of heads, forms, ages, sexes, draperies, &c. which sometimes by-
good management supply, by picturesque effect, the want of real interest in a history.
The invention of a painter consists, not in inventing the subject, but in a capacity for forming
the subject in his imagination, in a way best suited to his art, although it be wholly borrowed
from poets, historians, or popular tradition.
For this pus-pose he has full as much, perhaps more to do, than if the story itself were invented :
for he is bound to follow the ideas he has received, and to translate them, as it were, into the
language of another art. In this translation lies the painter's invention. He must, in a manner,
new-cast the whole, and model it in his own imagination. That it may become the painter's
nourishment it must pass through the painter's mind. Having received an idea of the pathetic
and grand in expression, he is next to consider how to make it correspond with what is touch-
ing and awful to the eye. This is a business by itself; and here begins the proper invention
of the painter, which includes not only the composition or putting the whole together, and the
disposition of each individual part, but also the management of the back-ground, the effect
of light and shade, and the attitude of every figure or animal introduced, or making a part of
the whole.
Composition, which is the principal part of the painter's invention, is by far the greatest
difficulty he has to encounter. Every man who can paint at all can execute individual parts;
but to keep those parts in due subordination, as relative to the whole, requires a comprehensive
view of the art, that more strongly implies the possession of genius than perhaps any other qua-
lity whatever.
To conclude this head, it must be observed that not only the whole, but every separate part
of the disposition of a piece, ought to possess probability, grace, accurate costume, and the par-
ticular character of each object represented.
Nothing should be suffered to appear, indicating an uniformity of manner in the conception
of the artist, which may be discovered no less in the composition of the whole than in the exe-
cution of any particular part; and by which the hand and mind of the painter may be recog-
nized, just as he may be distinguished in the dark by his tone and accent of voice.
SECTION
X
183
action, the parts of which have very close dependency each on the other; or where any remark-
able point or turn of verbal expression makes a part of the excellence of the story ; or again,
where it has its effect from allusion to circumstances not actually present. An instance of this
kind of subject is given by Sir Joshua Reynolds, as having been recommended to a painter by a
very distinguished person, but who, as it appears was but little conversant with painting. It
was what is related, in Dalrymple's Memoirs of Great Britain, to have passed between James II.
and the old Ear) of Bedford, in the council held just before the revolution. This is doubtless a
very striking piece of history, but so far from being a proper subject for a picture, that it pos-
sesses not one necessary qualification. It marks no general or intelligible action or passion ; it
has a retrospect to other circumstances in history of a very complicated nature ; and it is neces-
sarily deficient in that variety of heads, forms, ages, sexes, draperies, &c. which sometimes by-
good management supply, by picturesque effect, the want of real interest in a history.
The invention of a painter consists, not in inventing the subject, but in a capacity for forming
the subject in his imagination, in a way best suited to his art, although it be wholly borrowed
from poets, historians, or popular tradition.
For this pus-pose he has full as much, perhaps more to do, than if the story itself were invented :
for he is bound to follow the ideas he has received, and to translate them, as it were, into the
language of another art. In this translation lies the painter's invention. He must, in a manner,
new-cast the whole, and model it in his own imagination. That it may become the painter's
nourishment it must pass through the painter's mind. Having received an idea of the pathetic
and grand in expression, he is next to consider how to make it correspond with what is touch-
ing and awful to the eye. This is a business by itself; and here begins the proper invention
of the painter, which includes not only the composition or putting the whole together, and the
disposition of each individual part, but also the management of the back-ground, the effect
of light and shade, and the attitude of every figure or animal introduced, or making a part of
the whole.
Composition, which is the principal part of the painter's invention, is by far the greatest
difficulty he has to encounter. Every man who can paint at all can execute individual parts;
but to keep those parts in due subordination, as relative to the whole, requires a comprehensive
view of the art, that more strongly implies the possession of genius than perhaps any other qua-
lity whatever.
To conclude this head, it must be observed that not only the whole, but every separate part
of the disposition of a piece, ought to possess probability, grace, accurate costume, and the par-
ticular character of each object represented.
Nothing should be suffered to appear, indicating an uniformity of manner in the conception
of the artist, which may be discovered no less in the composition of the whole than in the exe-
cution of any particular part; and by which the hand and mind of the painter may be recog-
nized, just as he may be distinguished in the dark by his tone and accent of voice.
SECTION
X