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Thus one, much delighted with the pure and vivid cints of Titian, shall with difficulty acknowledge beauty in the gross complexions of Raphael, however elegant the proportions, or happy the character. A second, to whom harmony of features fills his conception of beauty, shall admire Car1o-Maratte ; to the surprise of those, who feel no effect from an union of features unenlivened by expression. Opposed to this person thall be one, with whom character alone stands for beauty; thus, when a Madonna of Correggio gazes on her child, with a fondness truly maternal; or smiles delighted with his playful action ; he calls that beauty, which a more correct eye (observing that the proportions are not perfectly just, and the cast of features, perhaps, even vulgar) shall admit to be nothing more than a pleasing expression. But, exclusive of these particular acceptations, we use this word in a sense still more vague and gene

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ral ; for, as it is the nature of beauty, to excite in the beholders certain pleasing sensations, we apply indiscriminately the fame title, to every thing which produces a like effect; and this is evidently the case, when we are fattered by the union of colours, or the charms of the Clear obfcure. Thus, an ancient writer obferves, “[l] That “the most opposite colours co-operate in “ the formation of beauty:" A testimony, which not only serves my present purpose, but likewise, brings the paintings of the ancients into the same point of view with those of Correggio ; shewing, that this last fpecies of beauty was equally known and cultivated by both.

B. THOUGH, what you have offered, be applied only to painting, may we not extend it to common life; and account, from hence,

* [1] Τα εναλλιώλαλα των χρωματων ες της του καλλους συνOnxenu ökonoyer.

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for for the difference of our opinions, concerning the beauty of women; each man esteeming her most beautiful, who moft readily excites in him those sensations, which are the end of beauty ?

A. Our British Lucretius, it should seem, thought so, when he tells us, that virtue

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Afsumes a variets features to attraat.
With charms refponfive to each gazer's eye
The hearts of men.

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DIALOGUE VII.

Of COMPOSITION.

A. Í TISTORY Painting is the repre

I sentation of a momentary drama : We may therefore, in treating of composition; borrow our ideas from the stage ; and divide it into two parts, the fcenery, and the drama. The excellence of the first, confifts in a pleasing disposition of the figures which compose the action : However trifling the pleasure we recieve from this May appear to some, it is certain, that it is founded on nature, and of course mult merit our attention : If we look in a clear night ori a starry sky, our eyes presently fix on those parts, where the stars are (if I may so

term

term it) grouped into constellations. The mind, indifferent to a loose unideal dispersion, seeks for something of system and ceconomy; and catches at every image of contrivance and design. Perhaps too, there may be something of harmony in a particular arrangement of objects ; similar to that, which strikes us, in the correspondence of founds, or flatters us, in the union of colours.

B. WHATEVER the principal may be, we cannot doubt of the effect. The eye charmed with the elegant distribution of a Lanfranc, or Pietro di Cortona, looks with coldness on the scattered compositions of a Domenichino; and often wishes for something more flattering in those of the great Ra. phael... ..

A. Your observation, so far as it touches Raphael, Thews the necessity of a distinction

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