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, R. NOTE IX. VERSE 89. 'Twas not by words Apelles charm'd mankind. As Fresnoy has condesceded 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 de triment; of a real productive cause which prevents his progress in his art, and dulls the edge of enterprize. 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 pro himself master of the language which perly 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 enterprize 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. NOTE X. VERSE 100. Some lofty theme let judgement first supply, R. It is a matter of great judgement 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 The Pain will answer to the Painter. ter'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 action or passion; and it is necessarily deficient in that variety of heads, forms, ages, sexes, and draperies, which sometimes, by good management, supply by picturesque effect the want of real interest in a history. R. * Dalrymple's Memoirs, i. 168. This writer has quoted no authority for the remarkable anecdote here alluded to: an inexcusable omission. E. M. |