NOTE XXIX. VERSE 265. When the picture consists of a single figure only, that figure must be contrasted in its limbs and drapery with great variety of lines it should be as much as possible a composition of itself. It may be remarked, that such a complete figure will never unite or make a part of a group; as on the other hand, no figure of a well-conducted group will stand by itself. A composition, where every figure is such as I suppose a single figure ought to be, and those likewise contrasted to each other, which is not uncommon in the works of young artists, produces such an assemblage of artifice and affectation as is in the highest degrec unnatural and disgustful. There is another circumstance which, though not improper in single figures, ought never to be practised in historical pictures ; that of representing any figure as looking out of the picture, that is, looking at the person who views the picture. This conduct in history gives an appearance to that figure of having no connection with the rest; and ought therefore never to be practised except in ludicrous subjects. It is not certain that the variety recommended in a single figure, can with equal success be extended to colouring. The difficulty will be in diffusing the colours of the drapery of this single figure to other distant parts of the picture, for this is what harmony requires; this difficulty, however, seems to be evaded in the works of Titian, Vandyck, and many others, by dressing their single figures in black or white. Vandyck, in the famous portrait of Cardinal Bentivoglio, was confined in his dress. to crimson velvet and white linen: he has, therefore, made the curtain in the background of the same crimson colour, and the white is diffused by a letter which lies on the table; and a bunch of flowers is likewise introduced for the same purpose. R. NOTE XXX. VERSE 275- The disposing of the drapery so as to appear to cling close round the limbs, is a kind of pedantry which young Painters are very apt to fall into, as it carries with it a relish of the learning acquired from the ancient statues; but they should recollect there is not the same necessity for this practice in painting as in sculpture. NOTE XXXI. VERSE 297. R. But sparingly thy earth-born stores unfold, Finery of all kinds destroys grandeur, which in a great measure proceeds from simplicity; it may, however, without impropriety be introduced into the ornamental style, such as that of Rubens and Paul Veronese. NOTE XXXII. VERSE 307. It is undoubtedly true, and perfectly obvious, that every part of the art has a grace belonging to it, which, to satisfy and сарtivate the mind, must be superadded to correctness. This excellence, however expressed, whether we call it Genius, Taste, or the gift of Heaven, I am confident may be acquired; or the Artist may certainly be put into that train by which it shall be acquired; though he must, in a great measure, teach himself by a continual contemplation of the works of those Painters, who are acknowledged to excel in grace and majesty this will teach him to look for it in nature, and industry will give him the power of expressing it on canvas. R. may NOTE XXXIII. VERSE 315. This is truly the noblest task, and is the finishing of the fabrick of the art: to attempt this summit of excellence, without having first laid the foundation of habitual correctness, indeed be said to build castles in the air. Every part which goes to the composition of a picture, even inanimate objects, are capable to a certain degree of conveying sentiment, and contribute their share to the general purpose of striking the imagination of the spectator. The disposition of light, or the folding of drapery, will give sometimes a general air of grandeur to the whole work. NOTE XXXIV. VERSE 345. By tedious toil no passions are exprest, R. His band who feels them strongest paints them best. A Painter, whatever he may feel, will not be able to express it on canvas, without having recourse to a recollection of those |