NOTE IV. VERSE 55. Till this be learn'd, how all things disagree, The mind is distracted with the variety of accidents, for so they ought to be called rather than forms; and the disagreement of those among themselves will be a perpetual source of confusion and meanness, until, by generalising his ideas, the painter has acquired the only true criterion of judgment: then with a Master's care, Judge of his art, through beauty's realms he flies, v. 76. It is better that he should come to diversify on particulars from the large and broad idea of things, than vainly attempt to ascend from particulars to this great general idea: for to generalise from the endless and vicious variety of actual forms, requires a mind of wonderful capacity; it is perhaps more than any one mind can accomplish: but when the other, and, I think, better course is pursued, the Artist may avail himself of the united powers of all his predecessors. He sets out with an ample inheritance, and avails himself of the selection of ages. NOTE V. VERSE 63. R. Of all vain fools with coxcomb talents curst, The sententious and Horatian line, (says a later French editor,) which in the original is placed to the score of the Ancients, to give it greater weight, is the Author's own. I suspect, however, that he borrowed the thought from some ancient prose writer, as we see he borrowed from Plutarch before at the opening of his poem. M. NOTE VI. VERSE 65. When first the orient beams of beauty move· The original here is very obscure; when I had translated the passage in the clearest manner I was able, but necessarily with some periphrasis, I consulted a learned friend upon it, who was pleased to approve the version, and to elucidate the text in the following manner" Cognita," (the things known,) in line 45, refers to "Nosse quid in natura pulchrius," (the thing to be learned,) in line 38: the main thing is to know what forms are most beautiful, and to know what forms have been chiefly reputed such by the ancients. In these, when once known, i. e. attended to and considered, the mind of course takes a pleasure, and thus the conscious soul becomes enamoured with the object, &c., as in the paraphrase. M. With nimble step pursues the fleeting throng, The power of expressing these transitory beauties is perhaps the greatest effort of our art, and which cannot be attained till the student has acquired a facility of drawing nature correctly in its inanimate R. state. NOTE VIII. VERSE 81. Yet some there are who indiscreetly stray, Practice is justly called purblind; for practice, that is tolerable in its way, is not totally blind; an imperceptible theory, which grows out of, and accom panies, and directs it, is never wholly wanting to a sedulous practice; but this goes but a little way with the Painter himself, and is utterly inexplicable to others. To become a great proficient, an artist ought to see clearly enough to enable him to point out to others the principle on which he works; otherwise he will be confined, and what is worse, he will be uncertain. A degree of mechanical practice, odd as it may seem, must precede theory. The reason is, that if we wait till we are partly able to comprehend the theory of art, too much of life will be passed to permit us to acquire facility and power; something therefore must be done on trust, by mere imitation of given patterns before the theory of art can be felt. Thus we shall become acquainted with the necessities of the art, and the very great want of theory, the sense of which want can alone lead us to take pains to acquire it: for what better means can we have of knowing to a certainty, and of imprinting strongly on our mind our own deficiencies, than unsuccessful attempts? This theory will be best understood by, and in, practice. If practice advances too far before theory, her guide, she is likely to lose her way; and if she keeps too far behind, to be discouraged. NOTE IX. VERSE 90. 'T was not by words Apelles charm'd mankind. R. As Fresnoy had condescended to give advice of a prudential kind, let me be permitted here to recommend to the artist to talk as little as possible of his own works, much less to praise them; and this not so much for the sake of avoiding the character of vanity, as for keeping clear of a real detriment; of a real productive cause which prevents his progress in his art, and dulls the edge of enterprise. He who has the habit of insinuating his own excellence to the little circle of his friends, with whom he comes into contact, will grow languid in his exertions to fill a larger sphere of reputation. He will fall into the habit of acquiescing in the partial opinions of a few; he will grow restive in his own: by admiring himself, he will come to repeat himself, and then there is an end of improvement. In a painter it is particularly dangerous to be too good a speaker; it lessens the necessary endeavours to make himself master of the language which properly belongs to his art, that of his pencil. This circle of self-applause and reflected admiration, is to him the world, which he vainly imagines he has engaged in his party, and therefore supposes that further enterprise becomes less necessary. Neither is it prudent, for the same reason, to talk much of a work before he undertakes it, which will probably thus be prevented from being ever begun. Even showing a picture in an unfinished state makes the finishing afterwards irksome; the artist has already had the gratification which he ought to have kept back, and made to serve as a spur to hasten its completion. R. NOTE X. VERSE 101. Some lofty theme let judgment first supply, It is a matter of great judgment to know what subjects are or are not fit for painting. It is true that they ought to be such as the verses here direct, full of grace and majesty; but it is not every such subject that will answer to the painter. The painter's theme is generally supplied by the Poet or Historian: but as the Painter speaks to the eye, a story in which fine feeling and curious sentiment is predominant, rather than palpable situation, gross interest, and distinct passion, is not suited to his purpose. It should be likewise a story generally known; for the Painter, representing one point of time only, cannot inform the spectator what preceded the event, however necessary in order to judge of the propriety and truth of the expression and character of the Actors. It may be remarked that action is the principal requisite in a subject for History-painting; and that there are many subjects which, though very interesting to the reader, would make no figure in representation: such are those subjects which consist in any long series of action, the parts of which have very much dependency each on the other; or where any remarkable point or turn of verbal expression makes a part of the excellence of the story; or where it has its effect from allusion to circumstances not actually present. An instance occurs to me of a subject which was recommended to a Painter by a very distinguished person, but who, as it appears, was but little conversant with the art; it was what passed between James II. and the old Earl of Bedford in the Council which was held just before the Revolution.* This is a very striking piece of history; but so far from being a proper subject, that it unluckily possesses no one requisite necessary for a picture; it has a retrospect to other circumstances of history of a very complicated nature; it marks no general or intelligible * Dalrymple's Memoirs, i. 168. This writer has quoted no authority for the remarkable anecdote here alluded to: an inexcusable omission. E. M. |