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claim the character of Genius, though full of errors; and it is equally true, that it may be faultless, and yet not exhibit the least spark of Genius. This naturally suggests an inquiry, a desire at least of inquiring, what qualities of a work and of a workman may justly entitle a Painter to that character.

I have in a former discourse* endeavoured to impress you with a fixed opinion, that a comprehensive and critical knowledge of the works of nature is the only source of beauty and grandeur. But when we speak to Painters, we must always consider this rule, and all rules, with a reference to the mechanical practice of their own particular Art. It is not properly in the learning, the taste, and the dignity of the ideas, that Genius appears as belonging to a Painter. There is a Genius particular and appropriated to his own trade, (as I may call it,) distinguished from all others. For that power, which enables the Artist to conceive his subject with dignity, may

be said to belong to general education; and is as much the Genius of a Poet, or the professor of any other liberal Art, or even a good critick in any of those arts, as of a Painter. Whatever sublime ideas may fill his mind, he is a Painter only as he can put in practice what he knows, and communicate those ideas by visible representation.

* Discourse III.

If my expression can convey my idea, I wish to distinguish excellence of this kind by calling it the Genius of mechanical performance. This Genius consists, I conceive, in the power of expressing that which employs your pencil, whatever it may be, as a whole ; so that the general effect and power of the whole may take possession of the mind, and for a while suspend the consideration of the subordinate and particular beauties or defects.

The advantage of this method of considering objects, is what I wish now more particularly to enforce. At the same time I do not forget, that a Painter must have the power of contracting as well as dilating his sight; because, he that does not at all express particulars, expresses nothing; yet it is certain, that a nice discrimination of minute circumstances, and a punctilious delineation of them, whatever excellence it may have, (and I do not mean to detract from it,) never did confer on the Artist the character of Genius.

Beside those minute differences in things which are frequently not observed at all, and when they are, make little impression, there are in all considerable objects great characteristick distinctions, which press strongly on the senses, and therefore fix the imagination. These are by no means, as some persons think, an aggregate of all the small discriminating particulars : nor will such an accumulation of particulars ever express them. These answer to what I have heard great lawyers call the leading points in a case, or the leading cases relative to those points.

The detail of particulars, which does not assist the expression of the main characteristick, is worse than useless, it is mischievous, as it dissipates the attention, and draws it from theprincipal point. It may beremarked,

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that the impression which is left on our mind even of things which are familiar to us, is seldom more than their general effect; beyond which we do not look in recognising such objects. To express this in Painting, , is to express what is congenial and natural to the mind of man, and what gives him by reflection his own mode of conceiving. The other pre-supposes nicety and research, which are only the business of the curious and attentive, and therefore does not speak to the general sense of the whole species ; in which common, and, as I may so call it, mother tongue, every thing grand and comprehensive must be uttered.

I do not mean to prescribe what degree of attention ought to be paid to the minute parts ; this it is hard to settle. We are sure that it is expressing the general effect of the whole, which alone can give to objects their true and touching character ; and wherever this is observed, whatever else may be neglected, we acknowledge the hand of a Master. We may even go further, and observe, that when the general effect only is presented to us by. a skilful hand, it ap

pears to express the object represented in a more lively manner than the minutest resemblance would do.

These observations may lead to very deep questions, which I do not mean here to discuss; among others, it may lead to an inquiry, Why we are not always pleased with the most absolute possible resemblance of an imitation to its original object. Cases may exist in which such a resemblance may be even disagreeable. I shall only observe that the effect of figures in Wax-work, though certainly a more exact representation than can be given by Painting or Sculpture, is a sufficient proof that the pleasure we receive from imitation is not increased merely in proportion as it approaches to minute and detailed reality; we are pleased, on the contrary, by seeing ends accomplished by seemingly inadequate means.

To

express protuberance by actual relief, to express the softness of flesh by the softness of wax, seems rude and inartificial, and creates no grateful surprise. But to express distances on a plain surface, soft

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