DOI Page / Citation link:
https://doi.org/10.11588/diglit.75271#0054
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( 44 )
tion, and modesly with which she receives the inessable gift is worthy
of her character. St. Peter is on her right-hand, and St. John on
her left; the former has his arm crossed on his breast, his head re-
clined, as if ashamed of having denied such a master, and receives
the inspiration with great composure ; but St. John, with a holy bold-
ness, raises his head, and hands, and is in a most becoming attitude;
the women behind St. Mary are plainly of an inferior character.
Throughout there is great variety of expressions of joy and devotion,
extremely well adapted to the occasion.
I will add one example more of a fine expression, because, though
it is very just and natural, it has not been done by any that I know
of, except Tintoret, in a drawing I have seen of him. The story is
our Saviour's declaration to the apostles at supper with him, that one
of them should betray him : some are moved one way, and some
another, as is usual, but one of them hides his face, dropped down
betwixt both his hands, as burst into tears from an excess of sorrow,
that his Lord should be betrayed, and by one of them.
In Portraits it must be seen whether the person is grave, gay, a
man of business, or wit, plain, genteel, &c. Each character must
have an attitude, and dress; the ornaments and back ground proper
to it: every part of the portrait, and all about it must be expressive
of the man, and have a resemblance as well as the features of the
face.
If the person has any particularities as to the set, or motion of the
head, eyes, or mouth (supposing it be not unbecoming) these must
be taken notice of, and strongly pronounced. They are a sort of
moving features, and are as much a part of the man as the fixed ones:
nay, sometimes they raise a low subje&, as in the case of my mar-
ble head already spoken of, and contribute more to a surprizing
likeness than any thing else. Van Dyck, in a picture I have of him,
has given a brisk touch upon the under lip which makes the form,
and set of the mouth very particular, and doubtless was an air which
Don
( 44 )
tion, and modesly with which she receives the inessable gift is worthy
of her character. St. Peter is on her right-hand, and St. John on
her left; the former has his arm crossed on his breast, his head re-
clined, as if ashamed of having denied such a master, and receives
the inspiration with great composure ; but St. John, with a holy bold-
ness, raises his head, and hands, and is in a most becoming attitude;
the women behind St. Mary are plainly of an inferior character.
Throughout there is great variety of expressions of joy and devotion,
extremely well adapted to the occasion.
I will add one example more of a fine expression, because, though
it is very just and natural, it has not been done by any that I know
of, except Tintoret, in a drawing I have seen of him. The story is
our Saviour's declaration to the apostles at supper with him, that one
of them should betray him : some are moved one way, and some
another, as is usual, but one of them hides his face, dropped down
betwixt both his hands, as burst into tears from an excess of sorrow,
that his Lord should be betrayed, and by one of them.
In Portraits it must be seen whether the person is grave, gay, a
man of business, or wit, plain, genteel, &c. Each character must
have an attitude, and dress; the ornaments and back ground proper
to it: every part of the portrait, and all about it must be expressive
of the man, and have a resemblance as well as the features of the
face.
If the person has any particularities as to the set, or motion of the
head, eyes, or mouth (supposing it be not unbecoming) these must
be taken notice of, and strongly pronounced. They are a sort of
moving features, and are as much a part of the man as the fixed ones:
nay, sometimes they raise a low subje&, as in the case of my mar-
ble head already spoken of, and contribute more to a surprizing
likeness than any thing else. Van Dyck, in a picture I have of him,
has given a brisk touch upon the under lip which makes the form,
and set of the mouth very particular, and doubtless was an air which
Don