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the branches shoot from their trunks, as well as by their different foliage; and the weeds in the foreground are varied in the same manner, just as much as variety requires, and no more. When Algarotti, speaking of this picture, praises it for the minute discriminations of the leaves and plants, even, as he says, to excite the admiration of a Botanist, his intention was undoubtedly to give praise even at the expence of truth; for he must have known, that this is not the character of the picture; but connoisseurs will always find in pictures what they think they ought to find: he was not aware that he was giving a description injurious to the reputation of Titian.

Such accounts may be very hurtful to young artists, who never have had an opportunity of seeing the work described; and they may possibly conclude, that this great Artist acquired the name of the Divine Titian from his eminent attention to such trifling circumstances, which in reality would not raise him above the level of the most ordinary Painter.

We may extend these observations even to what seems to have but a single, and that an individual object. The excellence of Portrait-painting, and, we may add, even the likeness, the character, and countenance, as. I have observed in another place, depend more upon the general effect produced by the Painter, than on the exact expression of the peculiarities, or minute discrimination of the parts. The chief attention of the artist is therefore employed in planting the features in their proper places, which so much contributes to giving the effect and true impression of the whole. The very peculiarities may be reduced to classes and general descriptions; and there are therefore large ideas to be found even in this contracted subject. He may afterwards labour single features

to what degree he thinks proper, but let him not forget continually to examine, whether in finishing the parts he is not destroying the general effect.

It is certainly a thing to be wished, that all excellence were applied to illustrate subjects that are interesting and worthy of being commemorated; whereas, of half the pictures that are in the world, the subject can be valued only as an occasion which set the artist to work; and yet, our high estimation of such pictures, without considering, or perhaps without knowing the subject, shows how much our attention is engaged by the art alone.

Perhaps nothing that we can say will so clearly show the advantage and excellence of this faculty, as that it confers the character of Genius on works that pretend to no other merit; in which is neither expression, character, or dignity, and where none are interested in the subject. We cannot refuse the character of Genius to the marriage of Paolo Veronese, without opposing the general sense of mankind, (great authorities have called it the triumph of Painting,) or to the altar of St. Augustine at Antwerp, by Rubens, which equally deserves that title, and for the same reason. Neither of those pictures have any interesting story to support them. That of Paolo Veronese is only a representation of a great concourse of people at a dinner; and the subject of Rubens, if it may be called a subject where nothing is doing, is an assembly of various Saints that lived in different ages. The whole excellence of those pictures consists in mechanical dexterity, working however under the influence of that comprehensive faculty which I have so often mentioned.

It is by this, and this alone, that the mechanical power is ennobled, and raised much above its natural

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rank. And it appears to me, that with propriety it acquires this character, as an instance of that superiority with which mind predominates over matter, by contracting into one whole what nature has made multifarious.

The great advantage of this idea of a whole is, that a greater quantity of truth may be said to be contained and expressed in a few lines or touches, than in the most laborious finishing of the parts where this is not regarded. It is upon this foundation that it stands; and the justness of the observation would be confirmed by the ignorant in art, if it were possible to take their opinions unseduced by some false notion of what they imagine they ought to see in a Picture. As it is an art, they think they ought to be pleased in proportion as they see that art ostentatiously displayed; they will, from this supposition, prefer neatness, high-finishing, and gaudy colouring, to the truth, simplicity, and unity of nature. Perhaps, too, the totally ignorant beholder, like the ignorant artist, cannot comprehend an whole, nor even what it means. But if false notions do not anticipate their perceptions, they who are capable of observation, and who, pretending to no skill, look only straight forward, will praise and condemn in proportion as the Painter has succeeded in the effect of the whole. Here, general satisfaction, or general dislike, though perhaps despised by the Painter, as proceeding from the ignorance of the principles of art, may yet help to regulate his conduct, and bring back his attention to that which ought to be his principal object, and from which he has deviated for the sake of minuter beauties.

An instance of this right judgment I once saw in a child, in going through a gallery where there were many portraits of the last ages, which, though neatly

put out of hand, were very ill put together. The child paid no attention to the neat finishing or naturalness of any bit of drapery, but appeared to observe only the ungracefulness of the persons represented, and put herself in the posture of every figure which she saw in a forced and awkward attitude. The censure of nature, uninformed, fastened upon the greatest fault that could be in a picture, because it related to the character and management of the whole.

I should be sorry, if what has been said should be understood to have any tendency to encourage that carelessness which leaves work in an unfinished state. I commend nothing for the want of exactness; I mean to point out that kind of exactness which is the best, and which is alone truly to be so esteemed.

So far is my disquisition from giving countenance to idleness, that there is nothing in our art which enforces such continual exertion and circumspection, as an attention to the general effect of the whole. It requires much study and much practice; it requires the Painter's entire mind; whereas the parts may be finishing by nice touches, while his mind is engaged on other matters; he may even hear a play or a novel read without much disturbance. The artist who flatters his own indolence, will continually find himself evading this active exertion, and applying his thoughts to the ease and laziness of highly finishing the parts; producing at last what Cowley calls "laborious effects of idleness."

No work can be too much finished, provided the diligence employed be directed to its proper object; but I have observed that an excessive labour in the detail has, nine times in ten, been pernicious to the general effect, even when it has been the labour of

great masters.

It indicates a bad choice, which is an ill setting out in any undertaking.

To give a right direction to your industry has been my principal purpose in this discourse. It is this, which I am confident often makes the difference between two Students of equal capacities, and of equal industry. While the one is employing his labour on minute objects of little consequence, the other is acquiring the art, and perfecting the habit, of seeing nature in an extensive view, in its proper proportions, and its due subordination of parts.

Before I conclude, I must make one observation sufficiently connected with the present subject.

The same extension of mind which gives the excellence of Genius to the theory and mechanical practice of the art, will direct him likewise in the method of study, and give him the superiority over those who narrowly follow a more confined track of partial imitation. Whoever, in order to finish his education, should travel to Italy, and spend his whole time there only in copying pictures, and measuring statues or buildings, (though these things are not to be neglected,) would return with little improvement. He that imitates the Iliad, says Dr. Young, is not imitating Homer. It is not by laying up in the memory the particular details of any of the great works of art, that any man becomes a great artist, if he stops without making himself master of the general principles on which these works are conducted. If i he even hopes to rival those whom he admires, he ! must consider their works as the means of teaching him the true art of seeing nature. When this is acquired, he then may be said to have appropriated their powers, or at least the foundation of their powers, to himself; the rest must depend upon his own in

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