tenance. This was undoubtedly an exaggeration of his conduct; but his intention was to show that he thought it necessary for painters to have some model of nature before them, however they might deviate from it, and correct it from the idea of perfect beauty which they have formed in their minds.

In Painting it is far better to have a model even to depart from, than to have nothing fixed and certain to determine the idea. When there is a model, there is something to proceed on, something to be corrected; so that even supposing no part is adopted, the model has still been not without use.

Such habits of intercourse with nature will at least create that variety which will prevent any one from prognosticating, on being informed of the subject, what manner of work the painter is likely to produce; which is the most disagreeable character an Artist can have.

R.

Peculiar toil on single forms bestow,
There let expression lend its finish'd glow.

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 degree 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 connexion 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.

Not on the form in stiff adhesion laid,
But well reliev'd by gentle light and shade.

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, Nor load with gems, nor lace with tawdry gold.

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.

R.

NOTE XXXII. VERSE 307.

That majesty, that grace, so rarely given
To mortal man, nor taught by art, but heaven.

It is undoubtedly true, and perfectly obvious, that every part of the art has a grace belonging to it, which, to satisfy and captivate 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

canvass.

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