THK ARTIST’S REPOSITORY *§* Encyclopedia of the Fine Arts JjL. EXHIBITING THE PRINCIPLES, EXPLAINING THE PRACTICE, IN ALL THEIR VARIOUS BRANCHES. A Work calculated to instruct the Student, and to gratify the Professor. It contains the Principles of delineating the Human Figure, Ac. ; the Methods of preparing and using all Kinds ot Colours: In- structions for Painting: Engraving, &c.: Essays on ^ Birucupuo. hit r aiiiuu^ . # X Sculpture, Perspective, Architecture, and Land- . ; j’i !;■■>■; ; /• HISTORY of ART. INTRODUCTORY LECTURE. lH E intention of the present discourse, Ladies and Gentlemen, is, to give a very brief view of the progress of those arts which are here- after to become the subjects of our particular atten- tion. It is true, uncultivated nations, and barbarous ages, have withheld the applause due to their utility ; but, in proportion to the advances of civilized so- ciety, and polished manners, they have been encou- raged, protected, and honoured. When we consider the state of mankind, as pre- sented by the first settlers in every country, sur- rounded by difficulties and dangers, perhaps involved in distress, we shall not wonder at the slow progress of mental refinement ; while the daily employment of man is to chase the wild animals of the wood, to ensnare the inhabitants of the water, or to lop the towering trees of the forest, and to fence with their Edit. 7. B branches 2 HISTORY OP ART. [lect. I. branches the entrance of his cave : in this savage state, exertion of genius, and amusement of mind, are precluded by bodily want. Observation assures us this is the actual condition of many tribes of the human race ; and reason infers that such was the primary state of every new colony in all ages and parts of the world. But, after agriculture had civilized mankind, had rendered them stationary, and had taught them the advantages of society, the attentive part of our spe- cies, less constrained to a constant exertion of un- remitted labor, experienced the pleasures arising from the cultivation of their rational powers to be far su- perior to those of the senses, merely ; not impeding the efforts of industry (that natural source of wealth and ease), but, while reposing the body, invigorat- ing the mind, science became the pursuit of all ingenuous minds, and of all enlightened underftand- ings. There is reason to believe, that among the first essays of human skill, the arts of design had a principal place. It is usual for the hand to attempt some kind of imitation of what the eye beholds, thereby expressing the disposition of the mind ; and beside this, it is natural to suppose, that the same fertile imagination which could invent instruments of music was not incapable of picturesque ideas ; that the same hardy ingenuity which could form into va- rious utensils the massy ore, might equally possess talents sufficient for the application of colours ; which required neither toil nor strength to procure, but were presented by liberal nature upon the sur- face HIpTpRY OP ART. 3 LECT. I 0 fac,e of the earth. If' this supposition be just, the arts may claim an origin of the deepest antiquity : it is certain, they were employed by mankind wherever we can trace the progress of science, and long be- fore any period to which our researches can attain. Pliny asserts, that a young woman, tracing upon a wall the shadow of her lover, which fell very dis- tinct from a lamp in the room, gave the first hint of Design ; and this circumstance is usually alluded to whenever the origin of painting is introduced. Qu intilian attributes it to the shadow of a sheep, outlined by a shepherd. But, in faCt, a much higher date must be assigned to it, than either those authors, or any I have seen, admit ; for, as shadow is coeval with substance and light, and as it offers so distinctly the form of bodies, that it is very supposeable man- kind are indebted to it for the discovery of this ele- gant study, what prevents our supposing likewise that the idea was adopted long before the times and cir- cumstances mentioned by Pliny and Quintilian ? On this subject, as on all others related to the more liberal studies, we can only draw our informa- tion from history ; and history cannot be cultivated, if indeed it can exist, before other branches of science have attained some popularity and establish- ment. Hence what accounts have reached us of the origin of all arts are extremely imperfeCt, since the authors who first attempted to relate them had only tradition, and that not always correCt, to guide their researches. The most necessary of Arts is architecture ; and it is evident that architecture was studied with di- B 2 ligence 4 HISTORY OP ART. [lECT. I. ligence in very early ages. I think we may fairly presume, that after mankind had paid what they thought sufficient attention to necessary convenience in their dwellings, that kind of natural affection which arises from the attention bestowed on its sub- ject, would prompt the possessor to the addition of ornaments, which Design alone could furnish ; and if this be natural in respedf to ordinary residences, it is yet more likely with respedt to those of great men, princes, and sovereigns ; and especially to temples, and edifices for worship, the supposed re- sidences of the Divinity to whom they were conse- crated. As to the labour and expence requisite for such works, we can appeal to numerous instances in proof that these were not spared; and we might further confirm this idea by observing, that (according to the opinion of many learned men) the most ancient original records now extant, are those related, with prodigious labour and skill, by significant figures inscribed upon marble and stone. This part of our subjedl might be illustrated by adverting to the manners of those nations with whom our acquaintance is modern ; as they, in the state of simple nature (or nearly) were not totally ignorant ©f the arts, may we not reasonably infer, that our own parts of the globe, when in the same state, might possess the same talents ? We are informed by the accounts transmitted to us, that the Spaniards, when they discovered Mexico, &c. found the Art of Design pra6tised among the people of that country as a mode of conveying intelligence : it is still used to the same purpose by sundry tribes of LECT. I.] HISTORY OF ART. 5 of native Americans ; and, in the newly discovered islands of the South Sea, the Art of Sculpture, at least, is carried to some degree of excellence ; and though it cannot boaft of producing beauty, to which it is not applied, it may boast of producing terror, and terrific forms, in vast variety. If then we find the most ancient empires, and go- vernments of the strictest forms, protecting and en- couraging Art ; if we also find Art practised where government is little known, and little regarded ; if where man is civilized in the highest degree, and where he is civilized only in a small degree, we find him indulging his fancy, and exhibiting his skill, certainly we risque little in considering these Arts as the direct offspring of Nature, in attributing to them very remote antiquity, very early esteem, and very general practice. But, though all nations may be said to have cul- tivated Art, yet each has had a favourite manner and style, which it has adopted and preferred to all others : sometimes also a nation has promoted one branch of Art above others ; and sometimes the in- fluence of a Patron, or the merit of a particular Artist, has contributed to raise one particular branch to a distinction which it did not formerly enjoy ; and the effeCt of this distinction has been a succession of Art in this favourite branch, and a prolonged repu- tation in consequence. The vicissitudes of nations, also, whereby they have been raised to honour and stability, or sunk to weakness and impotence, have usually had correspondent effeCts upon Art : Peace is its friend, and War its enemy. Now these events must HISTORY OP ART. 6 [lkct. 1. muff have contributed to turn the studies of Art into different channels, and thereby to produce merit of different kinds. It is not our intention at present to notice the history or the state of Art at large (that we refer to another division of our work), but merely to trace, in some kind of order, the history of that style which our own Arts have adopted. From the most authentic records of early ages (the Mosaic history) we learn that a settlement was formed at Babylon, almost direCtly as the world be- came sufficiently peopled to permit the separation of colonies from the parent state : and we find also that a very superb undertaking of architecture was speedily resolved on, and that mankind had great reason to remember this undertaking by its effeCts ; all nations and all men being in some manner af- feCted by this enterprise and its issue. From Baby- lon colonies travelled in search of settlement, and, among other countries, they early visited and esta- blished themselves in Egypt. We are the more interested in the history of Egyp- tian polity and manners, because much of our Art is derived from thence, and because we can appeal to specimens of Egyptian Art, which may direCt our opinions, and guide our researches ; whereas all the productions, and all the contents of Babylon, of Nineveh, and of the countries around them, have perished, and have left no memorial by which we may form a judgment of their merit, or of their style and manner. The HISTORY OP ART. 7 liRCT. I.] The antiquities of Egypt, its pyramids, sphinxes, obelisks, temples, still remain, though the names of their authors, and the times of their eredfion, are long since forgotten. They were ancient in the days of Herodotus, the father of European his- torians, who could gain no intelligence whereby to date the foundation of most of them : the inscrip- tions they bear are thought to be prior to the dis- covery and use of letters ; and though, could we now decypher those inscriptions, it is probable they might contribute little addition to the present stock of knowledge ; yet their information might gratify that curiosity which is very prevalent in minds de- voted to science. Whether Egypt was the fruitful parent of all the sciences, is a question not now to be entered upon, certainly it contains extremely ancient exertions of human skill, in respedt to those Arts whose his- tory forms our present subjedt. To the introduction and progress of the Arts in Egypt many circumstances seem to have contributed; such as — its being a monarchical government, — the fertility of the country ; and — the nature of its reli- gion. Egypt seems to have been, if not the original seat of idolatry, yet more addicted to its supersti- tions than any nation of whose manners we have heard. The numerous edifices still existing in that country, formerly devoted to the worship of hero- deities, of sacred animals, and not only of animals, but of sacred vegetables also, are explicit evidences of the fadt. Might not that idolatry which over- spread the land be one cause why the arts were more speedily s HISTORY OP ART. [lect. II speedily brought to some kind of perfe&ion in Egypt than elsewhere ? Might not the very early custom of embalming the dead, so generally pra&ised in this country, afford models for imitation ? The em- balmers of sacred birds might easily learn to model an ibis, or an hawk ; while such as were employed upon human bodies might form a human resem- blance, without possessing the greatest talents or abi- lity. In fa£t, most pieces of Egyptian sculpture extant are little other than imitations of their mummies, and may well be considered as representations of their original heroes or deities : nor is it unlikely, that the traditionary respedl paid by that people to the re- mains of their progenitors, might gradually be changed into superstitious adoration ; which shewed itself, under one of its forms, in the respedl shewn to images, and in the qualities attributed to them. This supposition is strengthened, by noticing the very particular rigour with which Moses forbad the Israelites from forming likenesses of any thing on earth, in the air, or in the waters ; lest to such a likeness some imaginary virtue might be attributed, and that which originally was only intended as a re- semblance, should, by a process whereof he was well informed, be converted into an idol. Indeed, it is but too evident, from a multitude of circumstances, that the Arts were early subservient to idolatry, at least, that they contributed to spread its pernicious effects : and here permit me to re- mark, for the information of my younger auditors, (that there appears to have been urgent necessity for the HISTORY OP ART. 9 LECT. I.] the severe prohibition in the second divine command, of whatever might tend to idolatrous worship ; since we find, that not only every land and nation, but likewise every city and village, had at this time its tutelary deity. Most of the names of towns recorded in the history of the conquest of Canaan by the Israelites, are titles distinguishing the idols of those places (vide in the book of Joshua , chap. xv. xix. &c.) and express — sometimes the figure of a deity alone, as Hermes (Erm, or Aram), Hamon , Ham- moni : — more commonly, a deity, whether male or fe- male, accompanied by some device, ornament, or attribute, to distinguish it from others ; as, the Bull, the Serpent, the Lizard, and other creatures ; some- times united with emblems, as the Suns eye, ( En - shemesh ) ; the Eye on the Foot ( En-rogel ) ; the Lumi- nous Pomegranate(Rimmon-metoah)-, and many others. From this custom of accompaniment by emblems, the emblem itself, after a time, was .regarded as a symbol of the Divinity, and when separated from its tutelar deity, was regarded with veneration, on ac- count of the situation to which it had been pro- moted. Hence arose, probably, the worship paid to many creatures usually thought impure and offensive. Beside this, some idols had numerous arms, hands, or other parts, intimating multifarious powers ; and some were compositions of the human and animal forms : Dag on his name, sea-monster, upward man, And downward fish : — Edit. 7. C To 10 HISTORY OP ART. [lECT. I„ To return from this digression ; if popular preju- dice, or religious regulation, had not restrained the exertions of their genius, the Egyptians not only might have nurtured the Arts, but perhaps might have advanced them to maturity ; in subjects which permitted the Artists to follow their natural taste, they have proved themselves little inferior to the most admired masters ; but, as their elegant produc- tions are extremely rare, we are to look elsewhere for the perfection of Art. The intercourse between Egypt and Greece communicated to the latter the Science and Art of the former. Whether Greece was the country of in- vention or not, certainly the patronage it gave to the Arts promoted their improvement and perfection. As we usually look to Greece for the purest ex- amples of taste, and as the merit of its Artists, even to this day, maintains a distinguished place, and, in some instances, is admitted to the very first place of honour in the Arts, it may not be amiss to hint at the chief causes of this excellence ; which, I appre- hend were, principally, the following. Whatever might be the encouragement bestowed by private individuals on an Artist in compensation for his labours, it could not equal the advantage of public patronage ; therefore, when communities where the Arts flourished, treated them, not only as private excellencies, but as public benefits, an artist was impelled, by the additional and powerful principle of love to his country, to exert himself, and even to surpass himself, that the honour of his native city, or district, might not only be main- tained 11 1ECT. 1.] HISTORY OP ART. tained but augmented. Besides, as merit was secure of due renown, it was likewise certain of ade- quate reward. Nor were these the only motives which animated the masters of antiquity ; but supe- rior to these, and to all others, was the persuasion that a kind of religious respect was paid to their deities, by the exertion of exquisite skill in forming their symbols, and representations. The desire of personal honour, the glory of their country, and the principles of their religion, sur- mounted every difficulty : not contented with equal- ling, Artists were prompted to excel, whatever had been done before them ; and hereby they produced those works which now fill us with admiration. It must be acknowledged, that ancient Artists had many opportunities for study of which we are desti- tute : not only were the natives of their country well shaped, and proportioned, but the Artists had the additional advantage of seeing thetn constantly in their exercises, which consisted of manly, and war- like operations, of nimble and speedy motions, and of rapidity exerted to the utmost ; whence those who for study resorted to their schools had the most fa- vourable opportunity of acquiring just ideas, not of proportion only, but likewise of agility, grace, and dignity. The youth were forms for imitation, when they wished to infuse, as it were, life into the marble, or the picture : the aged, commanded by their appear- ance reverence and respect ; the noblest charac- teristic parts of these, combined, or selected, with ex- quisite judgment, became the representatives even of C 1 celestial 12 HISTORY OF ART. [lect. I. celestial beings : and certainly, if gods such as ido- latry supposed, had thought proper to appear on earth, they could hardly have adopted forms more expressive than those the Artists of Greece had al- ready appointed to them. Indeed, the Grecian Artists have unanimously been acknowledged to surpass those of every other na- tion : they carried to their height most branches of Art, though we are at present little acquainted with their success in any other than purity of design. This we admire in their sculptures ; but, it is incre- dible that contemporary painters and designers, whose works were the boast of their times, should be defi- cient in the principles peculiar to their art ; and, as by the statues which remain, we judge of the profi- ciency of ancient Artists in design, so had their best pictures been fortunate enough to have reached us, we may justly believe, they also would have com- manded our applause. Notwithstanding this admission, it is not easy to determine how far we may rely on the reports of ancient writers with respect to the pictures of which they speak; they might be excellent, we grant it ; and yet we may doubt whether, on comparison with the esteemed works of modern times, they would retain the same primary rank as the sculptures are universally placed in. Some of the noblest prin- ciples of Art (such as forming the figures into groups, and the judicious conduct of light and shade) seem peculiar to the moderns ; no ancient author recommending them, nor any ancient pidlure now remaining possessing them. It is true, those works 13 LECT. I.] HISTORY OF ART. works which remain, may not have been among such as were deemed capital ; yet I apprehend, if the principles mentioned had prevailed, some appli- cation of them must have tin&ured the works of even indifferent Artists ; whereas, no capable judge will attribute to such Artists, all the pictures which have been retrieved ; some of which seem to be co- pies, or repetitions, of excellent works. Wishing therefore to decline repeating the eulogia bestowed by ancient writers on the Artists of Anti- quity, because, we are uncertain whether their praises are not exaggerated, and because, it requires no small knowledge of the profession to applaud judiciously (a knowledge which those writers perhaps did not sufficiently possess), and because, to take their ex- pressions literally, seems too high, while to lower them properly, is difficult, we conclude by admitting to an honourable station the Artists of antiquity ; but we take the liberty to claim, upon some occasions, a place at their right hands. It is a melancholy reflection, that all things, how- ever good in their nature, may be abused. Beside their subserviency to idolatry, the Arts have been charged with introducing, or at least contributing to the support and the spread of, luxury, and effemi- nacy. To defend them from this imputation is a task I mean not to undertake ; nevertheless, to me it seems, that as courage may become brutality ; hospitality, profusion ; or oeconomy, avarice ; or, as even the laws of a country which should be the se- curity of each individual, may degenerate into des- potism ; so, in common with other noble and liberal 2 sciences. 14 HISTORY OF ART. [LECT. X. sciences, the Arts (in themselves truly honourable) by the depraved passions of mankind, have been pro- stituted to infamous and detestable purposes ; in which they have rather been subjects of pity than of blame. That luxury and effeminacy were the ruin of -Greece, is not to be denied ; having forsaken good morals, they became subjugated to the Roman po- licy and power ; their country was desolated, their temples spoiled of their ornaments, and the capital productions of their great masters were transported to embellish the porticos of Rome. Rome was the seat of universal empire, the mis- tress of the world : into Rome flowed all that was curious and costly ; many generous minds were there, who prided themselves on their patronage of the Arts, and who liberally rewarded the merits of professors. That the Roman Artists attained considerable skill is granted ; but, notwithstanding their efforts to rival their masters, the Grecian manner remained always superior, and the Greek productions unequalled. Why the Roman Artists did not equal the Greek, may be answered, in some degree, by considering the different government and conduct of the people. The Roman commonwealth studied war, and was backward in cultivating the politer studies ; and when it did cultivate them, it was rather as a patron than as a professor ; it commanded, and employed, those who were already skilful, and rather paid their merit than exerted its own efforts in pursuit of supe- rior excellence. An art, or a science, like a state, or a kingdom, continues 15 LECT. I.] HISTORY OF ART. continues not long in glory after great labour, it reaches its zenith, and perhaps maintains a certain splendour during the lives of a few eminent men : when these are gone, it dwindles to mediocrity, and from mediocrity it sinks into negledt and oblivion. If the morals of Greece were luxurious, and ef- feminate, by what epithets shall we characterize the manners of the Romans ? “ Earthly ! sensual ! de- vilish !” Rome became the sink into which ran the vices of every country its arms had subdued. Aban- doned to impiety, and slaves to debauchery, its ru- lers and its citizens exulted in what should have asto- nished them with shame and horror. Riches but too often are considered solely as the means of gra- tifying the irregular passions of our nature ; and, when flowing in abundance from the tributes of dis- tant provinces, they seem so easily acquired, no wonder they are rapidly spent : hence we find the Romans addidled to vices, and to expences, which are truly surprising ; and hence originated that weak- ness both of mind and body, of government, and of society, which at length iffued in the overthrow of the Roman state, and the utter subversion of its power. We do not therefore wonder, when reading the history of those times, that Providence commis- sioned the barbarous nations to punish the licen- tious, the profligate Romans ; our wonder rather is, that long before that period they were not involved in desolating ruin. When the numerous hordes of the surly north had over-run the distant provinces, and ravaged Italy, the Artist hung his head in silent sorrow, l6 HISTORY OF ART. [LECT. 1. sorrow, or burst into lamentation at the savage scene ; not so much regretting his own performances (for Art had now declined), as the destruction of those he had been used to survey with wonder and delight. Farewel the productions of Apelles and Zeuxis! farewel Lysyppus ! Praxiteles! Phi- dias! buried for a long, long night, beneath the ruins of the capitol ; of the palaces ; of Rome. I am sensible that a much greater variety of par- ticulars might have entered into this part of the pre- sent discourse : I might have mentioned the names of those celebrated Artists whose productions are our wonder ; I might have related anecdotes concerning their works ; I might have noticed the honours con- ferred on some, by the munificence of kings and princes ; and the respeCl paid to others, by the cities and states of whose communities they were members : but as this is, professedly, a slight sketch of the progress of the Arts, such instances, though ex- tremely honourable to our subjeC!, are at present omitted : as are descriptions of pictures and statues, because, I do not think them properly subjects of description, but of inspection : and because, much of this history is treated at greater length in another part of our work : to which therefore we refer our farther inquiries. Thus have I briefly hinted at the progress of the Arts in ancient times : certainly this subjeCt is inte- resting, yet it does not interest us so closely as what has followed upon their revival : in general, they have ever accompanied learning and politeness ; as these have been encouraged, the Arts have flou- rished ; HISTORY OF ART. LECT. I.] 17 rished ; when these have been negleCted, they have drooped ; when liberal science and knowledge were banished, they died. One would think when reflecting on certain his- torical events, that mankind were destitute of power to know, and to enjoy, their real happiness. Is it im- possible to unite purity of sentiment, to politeness of manners ? must cultivation of the mind debase it in some respe&s, while ennobling it in others ? Why should not the Greek, or the Roman, combine ele- gance of taste, with modesty and integrity ? Why should the Goth, or the Hunn, retain his ferocity, rather than unite to courage and prowess, the milder attainments of arts and knowledge ? Yet such is the faCl : after elegance and politeness, too often suc- ceeds over-refinement ; and to this — weakness and profligacy : as, on the other hand, the brutal passions of uninstru&ed, uncultivated, nature, respeCt nei- ther the noblest exertions of genius, ’nor the most captivating productions of the human faculties, of skill almost divine. Here we ought to observe, that when the Arts were involved in the fall of Rome, they found some kind of protection at Constanti- nople (then the imperial residence) ; but very far in- deed was the Art here protected from rivalling the merit of that which Greece had formerly fostered, and matured. Long remained the Arts beneath the night of ob- scurity, in which ignorance and superstition involved Europe ; nor did they dawn again till the thirteenth century, when Cimabue, a native of Florence, trans- lated the poor remains of his art, from a few worth- Edit. 7' D less 18 HISTORY OP ART. [lECT. I. less itinerant Greek painters, to his native city. Thus, as Italy had formerly received the stem of Art from Greece, and had, in some sense, returned the plant again to that favoured country, where it was sheltered from the violence of the storm which broke over the Roman government, so now Greece was the country from whence Italy again received the rudi- ments of the Arts, which she gradually raised to a dignity far surpassing that which they enjoyed in their now native country. When Italy was overwhelmed by the Goths, and other enemies, the Arts took refuge in Greece : when Greece was overwhelmed by the Turks, the Arts fled to Italy : and here finding patrons, they acquired an establishment, and long maintained an extensive reputation. We have hinted that Cimabue was the first of the moderns whose produ<5!ions commanded esteem ; and that he learned his art from Greek painters who visited Italy : we are not therefore to suppose that the works of Cimabue were such as we should deem excellent among those of later Artists : as curiosities, they will always be admired ; but, as studies, they are every way inferior to the prodiuifions of more modern genius. But, beside the merit of Cimabue as an Artist, we are obliged to him for transmitting his art with improvements, to his scholars, and successors, who, adding each a something, to what they had learned of their master, at length produced Artists of esta- blished merit. Hence we have Leonardo da Vin- ci, Michael Angelo, and Raphaelle; and hence HISTORY OF ART. 19 LECT. I.] hence their numerous successors, not in Italy only, but in every state of Europe : and it is worth re- marking, that eacii state has produced Artists excel- lent in some department ; and has contributed some- what to the general stock of merit which the Arts have furnished. It is customary to distinguish these local varieties by the name of Schools of Art : and hence we hear of the Italian school, which is subdivided into several, — as the Roman, the Bolognian, the Venetian, the Florentine, school : hence the Flemish school ; the Dutch, the French, and at length, the English school. The history of these schools is hardly to be un- derstood without introducing the lives of the Artists who founded, or who maintained, them ; and this would prolong the present discourse beyond its due limits. Yet as each school has its distinct character, we shall just remark, that according to its advantages that character has been formed. The discovery of the antique statues formed the style of design of the Roman school into a manner possessing much grandeur, truth, and elegance ; while Venice being rich, because commercial, excelled in magnifi- cence and in colouring, without any considerable ac- curacy of design. The nature of the country has distinguished the Flemish school by the figures of its subjects ; and the use of smaller apartments than is common in Italy, has given, by the shadows they projected, a truth and a force to its productions, in respect of light and shade, which justly entitle it to great esteem. Other schools are in many respects, D 2 more 20 HISTORY OP ART. [lect. I. more or less, compounded of these principles ; and according to the opinion, or the wishes of their pa- trons, or to the taste and abilities of some leading Artist, they vary in their character, and in the style of performance adopted by them. Genius, and its offspring, merit, are confined to no part of the world ; but they appear under various forms, according to the disposition of their cotem- poraries : correspondent to the nature of the work in which they are called to engage, must be the style they adopt ; and as it rarely happens that genius can lead the public opinion, it usually is under the ne- cessity of conforming to it. Very rarely, indeed, can an Artist persuade his patrons to see with bis eyes, and therefore he is obliged to accommodate his performances to the faculties of those who are to in- spect them. It remains now that we introduce a few notices of the various materials which Art has employed, or on rvhich it has wrought, in producing its works. Architecture was certainly, at first, constrained to employ stakes and wattles in constructing habita- tions ; to these succeeded the mud-walled cottage, supported by beams of timber ; and long did it con- tent itself with the stability and the convenience which timber afforded for building : but, at length, brick became a favourite for many uses ; then stone, ■whose durability was its great recommendation ; and after stone, marble, the most precious marble, which being variegated into innumerable beautiful patterns, charmed the eye with its richness, its diversity, and its lustre. Sculpture 21 LECT. I.] HISTORY OF ART. Sculpture followed very nearly the track of Architecture : first it engaged its skill in carving of wood, then of ivory, then of clay, then of stone and of marble ; at length, it treated gems in a man- ner truly wonderful for accuracy and for minuteness : strongly contrasting these almost microscopic ob- jects with the colossal works which it produced in metals. Painting used, at first, one simple colour, which delineated the outline of its subject, and afterwards filled it up ; other colours were gradually introduced for the sake of variety, splendor, and effect. Doubt- less these colours were such earths as nature most readily offered : it could not be till after some time, and no small progress in other sciences, that colours requiring any degree of chymical preparation could be adopted into use ; but these, when known, and approved by experience, being desirable by reason of their brilliancy, or their durability; would be ea- gerly employed when requisite in certain effects. As wx are about to notice a very considerable change in the materials used in the art of painting, it may be proper to desire attention to a few previous remarks on this subject. Many have been the conjectures concerning the vehicle, by means of which the ancient painters pre- pared their colours ; but no satisfactory hypothesis has yet been devised. Whatever it might be, it has preserved their colours to the present time, with a vigour and brilliancy perfectly surprising ; and even some remains of very early ages, by the accounts of travellers who have visited them, are equally fresh and 22 HISTORY OF ART. LECT. I. and lively as any modern production. Of this du- rability the ancient picture called the Aldobra?idine marriage , now to be seen in the palace of that name at Rome, is a striking instance, which, though pro- bably painted two thousand years ago, continues to be a fine picture. Those dicovered at Herculaneum are additional proofs ; as are the descriptions given by Pococke of some remains of coloured subjects in Upper Egypt, which, though very ancient, are yet clear and strong. It appears that oil was not the mean made use of to fit their colours for the canvas ; this discovery is thought to have been made in modern ages, and has usually been attributed to John Van Eyck (fre- quently called John of Bruges, from the place of his residence) about the beginning of the fourteenth century ; but a late writer (Mr. Rasp e) has produced several arguments to prove, that painting in oil was known, if not to the ancients, yet long before the pretended discovery of John Van Eyck. The ■claims of this Artist arise from the testimony of Va- sari, in his “ Lives of the Painters,” first published in 1566; a writer, who was neither a countryman of Van Eyck, nor a contemporary; but who wrote and published his book one hundred and fifty years after him. Before Vasari’s time it does not appear that any Flemish or Dutch historian had ascribed this invention to their countryman ; nor among the high encomiums on John Van Eyck as a painter, in his epitaph in the church of St. Donat at Bruges, is there any mention of his having invented oil-painting. Besides, instances occur, and are recorded by several writers, HISTORY OP ART. 23 L ECT. I.] writers, of Flemish oil-paintings, which were exe- cuted before the time of this supposed inventor. And Mr. Horace Walpole, in his “Anecdotes of Painting in England,” has produced some unques- tionable fadfs, which prove, that oil-painting was known and practised in this kingdom long before the time in which Van Eyck is reported to have in- vented it in Flanders. Among several arguments and fadts to the same purpose, it is alledged, that Theo- philus, who is supposed to have lived in the tenth or eleventh century, in a treatise De Arte pingendi, discovered in the library of Trinity College, describes the method of making linseed-oil for the use of painters, and gives two receipts for making oil-var- nish. This, however, whether we call it invention, or adoption, was of the utmost advantage to Art ; since, by this means, the colours of a painting are preserved much longer and better, and receive a lustre and sweetness to which, so far as appears, the ancients could never attain. Themiode of usage consists in grinding the co- lours with nut-oil, or with linseed-oil ; the manner of working is very different from that in fresco, or or in water ; the oil does not dry nearly so fast ; and, after it is dry, it gives the painter an opportunity of retouching the parts of his pidture at pleasure ; or. even of entirely changing them in drawing, or in co- louring ; which in the other kinds of painting is im- pradlicable. The figures likewise are capable of greater force and boldness ; the colours mix better together ; they permit a more delicate and agreeable colouring, 24 HISTORY OF ART. [_LECT. I. colouring, and give a union and tenderness to the work, inimitable in any other manner. It is somewhat extraordinary that this mode of ap- plying colours should have so long remained unem- ployed, if it was known to the ancients ; unless they thought their own mode superior : but as the pro- perty of oil is to resist water, whereby oil-painting is calculated to afford protection from the injuries of the weather, it still remains surprising that no men- tion should be made of it, as used for ordinary, or external, works, at least. And indeed, it seems not improbable, that if John Van Eyck was not the inventor of painting in oil, he might revive it, or apply it to subjects to which it had not before been applied, or he might furnish an additional number and variety of colours ; and so augment its reputa- tion, and relieve it from that obscurity which had enveloped it : after his time this manner of painting was adopted into general use. About the middle of the fifteenth century, the Arts received a very considerable augmentation by the discovery of engraving. It is true, {he an- cients practised, with great success, a kind of sculp- ture (which has been termed engraving) on precious stones and chrystals ; but the utility' of this Art in furnishing impressions was not known till about A. D. 1460. The story of its discovery is thus related. A gold- smith of Florence, named Muso Finiguera, be- ing accustomed to take impressions in clay of every thing he cut in metal, and to procure casts from it by melted sulphur, observed some of the casts to be marked 2b LECT. I.] HISTORY OP ART, marked with the very same strokes as were upon the original metal, the sulphur having taken the black from it : he tried to do the same from silver plates, on wet paper, by rubbing it gently on the back ; this also succeeded ; and this was the origin of that manner of engraving which is now carried to exqui- site perfection. This science is of the greatest uti- lity to Art and to Artists ; nothing spreads a master’s fame so much as a general circulation of prints from his works ; statues, and pictures, are confined to one place, but by means of this discovery their beauties are exhibited to the world at large : nor is this profession less serviceable to Art in general, as it furnishes very commodiously, excellent copies of whatever is ele- gant, or admirable, as well for the satisfaction of the curious, and the reflection of masters ; as for the imitation and improvement of students. It may seem, indeed, that it was rather a discovery of the Art of Printing than of Engraving which ori- ginated with Finiguera : it was the art of mul- tiplying impressions from subjects already engraved ; for the Art of Engraving itself seems to have at least as much claim to very remote antiquity as any other branch of Art ; witness the signets. See. usually worn by the great in the earliest ages : which were engraved with the appropriate devices of the persons to whom they belonged, as may be proved from sundry passages in the Mosaic history. The materials which have been wrought upon by the Art of Engraving have been various : silver, gold, pewter, copper, wood, Sec. Of these, pewter is still used for engraving of music, which is per- Edit. 7, E formed 2 6 HISTORY OF ART. [lect. I.. formed by stamping rather than engraving ; for which the softness of this metal particularly qualifies it, as it easily receives the impression desired. Wood has been used in many instances, and has produced works of great merit ; but, beside the difficulty of printing impressions from it, it is not capable of those exqui- site degrees of degradation, and of that beautiful finishing, which forms the distinguishing excellence of engraving on copper : hence copper is now used for all works requiring accuracy, and neatness ; and, by the several manners in which engraving on cop- per is performed, it furnishes a variety adapted to every requisition of Art. The rolling-press was invented byJusTUsLiPSius: and was first brought into England from Antwerp by John Speed, A. D. 1610. We have now traced the Arts, though indeed but slightly, from their origin to their glory, from their glory to their decay, from their decay to their revi- val ; we have seen them spread and flourish, or lan- guish and decay ; we have seen their influence also, that it has occasionally been considerable, and exten- sive ; if it has not always been so well directed as must be wished, we have shewn that this was not from any bias in the Arts themselves, but from that disposition of mind which too often perverts the noblest studies, and debases the most respectable professions. We have seen, that when any state has cherished the Arts, the Arts in return have embel- lished and adorned it, have recorded its advantages, or its honours ; have related events connected with it in a language familiar at once to the native, and to the stranger. HISTORY OP ART. 27 LECT. I.] stranger, from whatever distance he might come ; —but this is not the place for remarking the excel- lence, or the utility, of the Arts : that we reserve for a succeeding discourse : we conclude the present, by ardently wishing, that as the Arts have, lately, been highly honoured and encouraged ; as they seem to have acquired a permanent establishment, not only in a public school, but likewise in public patronage : — » may that patronage be long merited, and long conti- nued ! may the Arts long flourish to the honour of the British name, and be transmitted as one branch of British excellence to the latest posterity ! E 3 LECTURE 28 HISTORY OF ART. [LECT. I. LECTURE II. OF THE EXCELLENCE, AND UTILITY, OF THE ARTS. Ladies and Gentlemen, In our preceding discourse we remarked, that, though sometimes negledfed, and sometimes con- temned, yet by civilized society in general (and by this nation of late in particular), the Arts have been honoured with distinguished attention ; enjoy- ing not only the encouragement of individuals, but likewise the patronage of the public. An endeavour to account for this attention, and patronage, may at first sight appear superfluous, since it will readily be admitted, that general applause is not bestowed on a subject without merit : nevertheless, as I have now the honour to address such as desire to cultivate an acquaintance with the fine Arts, I presume it will not be deemed impertinent to animate this laudable in- tention, by offering a few remarks on their excel- lence, and utility. Human nature, in its uncultivated condition, is rather an objedt of pity than of satisfaction ; little elevated 29 J.ECT. I.] HISTORY OP ART. elevated above surrounding animals, or superior to beasts that perish, were bodily endowments its whole possession : but, when exerting the faculties of his mind, when exercising his powers of reflection and reason, Man appears to be “ little lower than angels, and crowned with glory and honour.” Indeed, so very different is our opinion of Man according to the contrary stations from which we view him, that we are ready to exclaim, ‘ What is this being whose wonderful powers soar into remote systems, and ex- plore the limits of creation ; or,, when he descends to investigate minute objects, inspects with accuracy the very atoms of existence ? Is this being, also, the suffering subject of distress, of disease, of death !* It is true the powers of the human mind are la- tent, but they are not less real ; they are too often diverted to trifles, but they are not less equal to the noblest studies : they too often abide in obscurity through indolence or inattention, but ’they are not less capable of energy, and of activity, of wisdom, which improves mankind, and of discoveries de- serving universal applause. What a pity then is it, that such sublime abilities should suffer by misma- nagement, or be lost for want of use. If then our superior and distinguishing properties be those of the mind, certainly such studies as are adapted to open and expand the mind, to culti- vate the genius, and entertain the imagination, me- rit our especial regard and protection. And this is abundantly evident if we consider, that, beside the mental faculties bestowed on our species generally, Nature has given to each individual a proper and dis- tinct 30 HISTORY OF ART. [iECT. I. tindt talent, which enables him to engage with most advantage in some .certain course of study : now, as Nature does nothing in vain, it follows, that, where genius, fancy, imagination, taste, have been parti- cularly imparted to any, they should by all means be cultivated, improved, protected, and matured, in expectation of their future success and prosperity ; but tliis is not to be done without attention, and in- struction, whatever science be the object of our study. Sciences may be divided into speculative and practical : without any immediately apparent con- nection with the service of mankind, some engage the studious powers of thought ; others aim at pro- ducing or improving implements of daily utility ; the first require exertions of the understanding, to which the latter unite labour of the hand. The arts are compounded of speculation and practice : the conceptions of an imagination lively and vigorous, with a clear and emphatic manner of conveying those conceptions to the spectator. An imitative art, arising immediately from con- templation of the works of Nature, must, in many respedls, partake of the properties of its origin : if the works it contemplates be pleasing, such will be the imitations of them which it produces ; if they be extensive or various, capable of infinite combi- nation and diversity, such will be the character of the Art which studies them : and beside this, if they be adapted to affedt the mind, if they raise it to pleasure and delight, or moderate it to solemnity and sorrow, if they dirndl the sympathy which Nature has 31 LECT. I.] HISTORY OF ART. has placed within us according to the subject they set before us, then, especially, their dignity and im- portance rise to demonstration, and Reason and Wisdom approve their encouragement. Hail, noble Art ! whose magic powers raise to our enchanted sight innumerable scenes of contempla- tion, lovely or awful, serene or solemn : excited by thee, we shout with the sons of mirth, or we dissolve in tears with the children of affliction ; the wild grandeur of savage nature, at thy command, strikes us with astonishment, or the fertile landscape expands our hearts with pleasure ; terror and distress are sub- ject to thee — tempest, conflagration, the confusions of battle, the horrors of war : thine too are the calm delights of social peace, the soft repose of domestic tranquillity ! All ideas of the mind, however extensive its ca- pacity, or accurate its researches, are received by means of the senses ; surely then to have these mi- nisters of information well instructed, is no small ad- vantage ; and as by the eye, the far greater part of our ideas are transmitted to the mind, it appears of considerable importance to improve to the utmost this medium of knowledge. Of all the senses, sight is doubtless the busiest; it searches with insatiable desires after new objeCts ; diredly as awake we run to the light with eagerness, we imbibe with avidity the reflexions of an infinite variety of forms and colours ; to extend the pleasures of sight, we purchase by a thousand inconveniencies the satisfaction of dwelling on some eminence, never tired with the prospeCt, though immense, or bounded only 32 HISTORY OF ART. [lect. I. only by the azure mountains : not satisfied with the survey of distant objects, the eye must be enter- tained in our respective habitations ; we embellish our apartments with splendor, we decorate them with magnificence, we engage in this business every pro- duction of nature, improved by the labour of Art ; how many brilliant colours ! how many elegant forms ! what variety of materials ! what skill ! what ex- pence ! — to gratify the sight, to charm the eye. And not only is a person desirous of these enjoy- ments for himself, but he readily, and without hesi- tation, supposes, that his friends also will partake of this his good fortune ; persuaded that Nature has im- parted the same sensations to them as to himself, he scruples not to imagine, that they also will be enter- tained with this kind of entertainment, and be de- lighted with these delights ; so general, so univer- sal, is the conviction of the pleasures arising from, sight ! But now, might I be permitted to ask some who possess these advantages, whether they truly enjoy them ? I am not certain they could answer in the af- firmative ; in vain the extensive prospeCl presents its beauties, unless the beholder has skill to perceive them ; in vain the well-decorated apartment excites admiration, if the spectator be ignorant of the Artist’s excellence. It is true Nature gives us sight, but the sense must rather be considered as a channel of conveyance for delight, than as delight itself ; rather as a mean than as the end. It is the mind which receives satisfac- tion through the medium of sight ; and if the mind be HISTORY OF ART. 33 LECT. II.] be not gratified, the sense has little to boast of: and how should the mind be gratified, unless it be ac- quainted with the excellencies of the objects it sur- veys, and unless it have previous information in what those excellencies consist, and what is the nature of the beauties it is occupied in inspecting ? The mists of ignorance prevent the perception of many attrac- tive elegancies, which, were those mists removed, would amply reward the attention engaged in their examination. The eye which has been prepared by instruction to regard them, discovers in the productions of Na- ture, or of Art, a thousand latent graces, and beau- ties, which uninformed observers pass by without notice (the principal excellencies are too striking to be overlooked) ; so may the ear of a person ignorant in music be entertained by a concert ; but he re- ceives not equal satisfaction with one to whom the principles of that science are familiar. Nature may be said to be at the same time veiled and unveiled : veiled — to those whose acquaintance with her is but ordinary or superficial — distant ac- quaintance : unveiled — to those who, by assiduity and constancy, have been admitted to her intimacy and friendship : to these she exhibits beauties un- seen by others, and these behold innumerable charms which well reward, while they encrease, their attach- ment. Let no mortal ever suppose that he has en- tirely removed the veil of Nature ; ignorance alone can indulge the idea, as ignorance alone can infer, that to rend her veil is to raise it. Edit. 7. F Not 34 HISTORY OP ART. [lECT. II. Not only are the beauties of surrounding nature more exquisitely enjoyed by a learned eye, but, moreover, the Arts present to us a new creation : they recall from the silent tomb, generations long since departed, re-animate them for our delight and pleasure, and that with more vivacity than even the historian to whom we are indebted for our original information. If we examine the reasons of this fact, we find, that writing is, of necessity, long ere it interest us in behalf of its hero, and that the happiest language never equals in power those sensations which, from a well-conducted picture, how at once into the mind : impelled by the irresistible energy of Art, we honour the patriotism of Cuetius, we respect Lycurgus and Solon, we venerate Plato and So- crates ; the continent Scipto engages our esteem, the intrepid Fabricius our applause, the heroic Regulus our admiration : when contemplating their sentiments, and their behaviour, under circum- stances happily expressed by the judicious Artist. History, however, has its province, and that pro- vince is instruction : Poetry also has its province, and the province of Poetry is delight — a delight not aris- ing so immediately from the poem, as from the ima- ges which the mind forms to itself of what the poem describes : the mind, as it were, converts the poem into a visionary spectacle, and then enjoys its own creation ; and the glory of Poetry is thus to excite the mind : whereas Picture presents the vision ready raised ; by the strength of its delineation it offers to the mind at once, and impresses, as near as possibly 1 . can HISTORY OP ART. 35 LECT. II.] can be impressed, the representation of the scene as actually passing before the eye of the spedlator ; it even numbers him among the adlors, and per- suades him to bear his part of the sympathy which animates the whole. As I do not recolledt to have seen the comparison between Poetry and Painting set in its true light as it appears to me (though I have perused several works on the subjedl), I shall take this opportunity of offering a hint, or two, on that comparison. Poetry must bring us acquainted with the hero of its tale in a gradual and regular manner, and must exhibit in him qualities which engage our attention, and excite our wishes on his behalf: — and this it must do before it comes to the main, and most important, incident of the story it professes to treat. If it would interest us still more deeply, it must call to its aid other considerations ; for in- stance, it may trace the genealogy, the connedlions, of its hero, and display his extent , whether of ter- ritory, of reputation, or of influence. Poetry must do this, before we care whether the hero live or die, whether he be fortunate or unfortunate ; whereas, Pidture, if desirous of introducing these particulars, places them after the main incident ; shews us at once the hero in the height of his situation ; and after having raised our sympathy for one of the same nature with ourselves, hints at what farther be- longs to the subjedl. It strikes the eye, — and, by means of the eye, strikes the mind, — by one strong effort ; after which, it gratifies the desire of further information, if further information be desired. F 2 Is 36 HISTORY OF ART. [iECT. TI. Is this an advantage to Painting ? It seems to be the course of nature, at least : as men we sympa- thize first with a man ; whether he be a king is an after consideration. Who that ever saw a man fall from a precipice, ever staid to enquire, what he was ? before he felt the startle which shot through his veins : we lament him as a man ; then, if he be a father, we lament him as a father ; then arise the images of his children, grieving for their loss, and thus our sympathy spreads arounds us. Picture takes us at the very instant to which Poetry has laboured to bring us : it is no long ave- nue, at the end of which we expedl a noble pro- sped! ; it is a vista, suddenly opening to our view, and inviting our further promenade among its beauties. Those are the best historians (as writers) whose language depidts the events they relate : those are the best poets whose descriptions raise mental images : but those are the best painters who transmit their own mental images, and engage the spedfator to adopt them for himself. . The history of an event, is, in fad!, a very loose affair, so far as description is concerned ; — a battle may seem to be very accurately narrated, yet a battle is capable of a thousand forms : a triumph may ap- pear to be described slridtly according to order, yet no two points in its course offer the same efFedt : — so in Poetry ; let every grace of language be em- ployed accurately to describe a figure — dancing, for instance ; if the description be very particular, — so much the worse, — let it lift up one leg, — one arm, — or HISTORY OF ART. 37 LECT. II.] or sway the head on one side, — it soon ceases to be poetry. The mind, if thus shackled by the poet, -refuses to be of his company : general, loose, float- ing description, ideas that the mind may realise, or let it alone ; ideas to which it may add somewhat of -its own, without perceiving the fallacy ; these are the best arts of Poetry, and in these it succeeds. Now, instead of the evanescent, aerial, images of Poetry, Picture delights in determinate forms ; it grasps, as it were, its object, and fixes it ; it leaves little room for the play of the spectator's mind, but then it deprives the mind of any desire to play ; it raises few ideas too vast for the mind to conceive, but then those it does raise may be completely gratified ; it does not appeal to the mind for conceptions above what it beholds, but it persuades the mind, while intent on it, that these are the best conceptions pos- sible ; that these ought to be adopted, and, as it were, realised : it prohibits others for the time being ; and by the accuracy, verisimility, and indentity of those it presents, it impresses them on the spe&ator, with a force which differs from aCtual existence no farther than wishing a thing to be true, differs from adtual conviction of its truth. How near these are combined in the human mind let the self-flattery of any day determine. If Poetry be compared to Rhetoric, Picture may be to Logic ; if Poetry originate ideas, she must bring them to Picture to be realised : Poetry may describe Olympus, but Picture must people it with Gods : Poetry may hint at Hell, but Picture must pour tray the Devil. But 38 HISTORY OP ART. [lECT. II. But not to trace further the subjects of history, or the principles of poetry, let us now consider those more immediate and personal services, for which we are daily beholden to the imitative Arts. It is natural to desire the constant company of friends whom we value, or relations whom we love ; but as human enjoyments admit not of stability, the dearest friends must part : such is one condition of life. It is true, and it is pleasant to refleCt, that the faithful heart shall long enjoy the grateful pleasure of recollected love ; the retentive memory shall dwell with delight on past intercourse, but the re- tentive memory, and the faithful heart, very readily acknowledge their obligation to the arts of Design : the features, the manner, the air, the very person, is present in an animated portrait : for this enjoy- ment we are entirely beholden to the Arts. If there be, as undoubtedly there is, no small pleasure arising from the substituted presence of those whom we love, this advantage, though it may be somewhat weakened, yet is greatly extended, when we advert to the number of persons of whom we desire some memorial. Let us consider, that, after those most dear to us, our own families, our own friends, we are gratified by portraits of those eminent persons around us for whom we have con- ceived esteem ; the wise, the learned, the good, the illustrious ; and by portraits also of those whose misfortunes have interested us ; of those too who are not natives of our own country, but foreigners, whose celebrity has disposed us in their favour : ex- tend this idea to the famous characters of antiquity, and LECT. II.] HISTORY OP ART. 3Q and connect with it the reflection, that, rather than not possess representations of certain personages, mankind has adopted suppositious forms, and unau- thentic portraits. I know not any satisfactory authority for the heads of Homer, yet heads of Homer are numerous ; and out of an army of saints and martyrs that might be collected, great would be the difficulty of justifying the likeness of one in a thousand. Surely this disposition of the mind sup- ports the observation, that, the Arts contribute greatly to the endearments of affeCtion. But, beside contributing to the endearments of affeClion, the Arts, when well employed, become the channels of much useful intelligence ; many pages of description will not, cannot, impart so clear ideas of an eruption of Vesuvius, or of ./Etna, of a hurricane, or of a tempest, as design ; nor will language produce the view of a capital city, or an extensive prospeCl, which a picture Opens at once ; no explanation of many implements of manufactures can be understood without representations of them ; nor can subjects of natural history, plants, fossils, or animals, be accurately distinguished, unless ac- companied by proper figures. I might appeal for the confirmation of this remark, to the various sen- timents of naturalists on the animals of Aristotle and Pliny ; the present name of that creature is so, or so, says one investigator of the subjeCf ; no, says another, not that, but it may be such, or such ; while a third is ready to conclude that class of ani- mals, or at least that species, is extinCl ; whereas, had 40 HISTORY OP ART. [lECT. II. had we delineations of the animal intended, we should be under no such embarassing perplexity. This is of more importance than may seem at first sight ; and it is of importance, especially, in our commercial nation, which imports such a vast va- riety of articles from all quarters of the globe. To general readers, a representation of the tea-tree is pleasing, because the plant probably yields their beverage ; but to the merchant who deals in the com- modity, it is more than pleasant ; it is interesting. Plants that yield medicine are with great propriety studied and examined by the faculty, and by all lovers of natural knowledge : but as the plants them- selves are, often, not to be procured, the best pos- sible substitute is furnished by the imitative Arts. The same may be said of natural history in general ; it may be inconvenient to keep elephants, lions, tigers, crocodiles, whales, and sharks : I say, though we desire a knowledge of these creatures, it may not suit us to keep them, but, by means of Design, we may easily acquire no despicable portion of acquaint- ance with their forms, sizes, proportions, natures, and manners. We may know so much of them as may be of use for us to know ; and that, at an ex- pence so trifling as to suit every purse. If Man be the noblest subject of study, the Arts assist us in the Study of Man : if nature at large be our study, they assist us in the study of nature ; nay, in fad!, nature cannot be effectively studied without them. By means of the Arts the productions of nature, or of art, in every part of the globe, become fami- liar to us; we contemplate, without danger, the Groenlander LECT. II.] HISTORY OP ART. 41 Groenlander in his hut, the Siberian in his cave ; mountains of ice, monsters of the deep : the bite of the rattle-snake, the sting of the scorpion, strike us with no dread ; nor are we exposed to inconvenien- ces, though examining the manners of the Chinese, or the Hottentot. No wonder an art so universally useful, should be admired and distinguished as one of the highest embellishments of human life ! Upon the whole, and to pass over much that might be said, I venture to assert, that the Arts may justly be considered as blessings to mankind, when engaged in their proper sphere of usefulness ; that they have been sometimes otherwise, arises not from any evil in themselves, but from their having been abused by the corrupt passions of individuals ; no one regrets more sincerely than myself, that prosti- tution which at some periods they have suffered ; nevertheless, the abuse of these sciences should not prevent our respecting them for their services. The Arts owe their rise to superfluity, but are in- debted for their cultivation to good sense ; hence they have always kept pace with learning ; for in proportion as mankind became exonerated from ig- norance and fear, and sensible of the blessings of civilized life, they applied themselves to these elegant recreations : thus have their manners been polished, and innocent and peaceful pleasures have succeeded to violent and savage pastimes. What numbers are now amused and entertained by these delightful studies ! nor are they less improved, and benefited, than amused and entertained, for surely, to be able to design on the spot a striking prospeCt, Edit . 7* Gr or 42 HISTORY OF ART. [lECT. II. or a noble building ; a curious produdtion of Art, or an uncommon appearance of Nature, is not only a desireable amusement, but an useful accomplish- ment. To preserve to remote posterity the resem- blances of illustrious personages, to transmit objects of attention to foreign climes, is no inconsiderable attainment : we are pleased with the talents of distant Artists ; in return, our own performances command their applause. As this remark, is peculiarly applicable to those whom I have the honour to address : I beg leave to lay no little stress upon it. I would not have it thought that barren elegance merely (pardon the term) is the whole which now engages our atten- tion ; the Arts, though elegancies undoubtedly, are yet useful elegancies ; and though they are entitled to respedf as branches of polite education, yet, were they considered rather as to the advantages resulting from them, they would fully justify, as they would amply reward, both the time and the attention their study might have occupied. Let us further refledl, that, beside the information and elegance of these studies, they impart numerous advantages to industry in general ; how many inge- nious professions, not in Britain only, but in every civilized nation, are witnesses to this fa£t ! Survey a magnificent apartment, which of its embellish- ments can be executed with decent symmetry, not to mention elegance and taste, without knowledge in Design ? Proportion, which is the very life of De- sign, must be observed in every article, and must re- gulate the whole ; for, if disproportionate in its parts, or 43 LECT. II.] HISTORY OF ART. or extravagant in its contrivance, if confused, or wild in its distribution, how can it answer its purpose ? — which is, to please the eye. I would not be understood to assert, that we are pleased by rules only ; nor do I wish them tyranni- cally to confine genius : by no means ; rules are of advantage in their place, but not out of their place ; their province is, not to cramp and bind genius, but to direct the wandering taste to elegance, and to ex- clude whatever is disgustful, or deformed. Will the Ladies indulge the remark, that in that important article dress, a knowledge of the just principles of Art has considerable utility : on appeal- ing to times past, we are permitted to regret, that a kind of opposition to nature has been too often visible in many modes of dress which the sex has adopted, not because of their elegance, their sym- metry, or their use, but merely through the enchant- ment, or rather bewitchery, of fashion. With what surprise do we now survey the habits of our ancestors ; with what astonishment do we exclaim, that ever such accoutrements should have been deemed handsome ! becoming ! ornamental ! and when the personal accomplishments, the virtues, and the beauties, of the present wearers of — need I name the fashion ? — are forgotten, who will insure these inventions from the disdain of future generations ? In many ornaments of dress (and ornaments are a principal part of dress) the principles of Art dire<5l to embellishments greatly superior to many which have been adopted ; the absurdity was once very fashionable of udonung the elegant dresses of British G 2 ladies 44 HISTORY OP ART. [lECT. II. ladies with uncouth devices from remote climes ; certainly, not the beauty of their sprigs, their flowers, their figures, rendered them objedts of taste ; neither was our native land destitute of sprigs or flowers : no ; but it required some skill to imitate them, be- cause every spectator could judge of their likeness ; whereas the imitation of foreign produdfions present- ing to us no likeness of which we might judge, the blunders of ignorance escaped detedtion. Farewel exotics ! our own country presents a thousand decorations, more elegant, more convenient, and (to us) more natural. I beg leave to repeat in this place a few remarks seledled from Mr. Richardson, an Author, and an Artist, justly esteemed. “ Because pidtures are universally delightful, and accordingly make one part of our ornamental furni- ture, many, I believe, consider, the Art of Paint- ing but as a pleasing superfluity ; at best, that it holds but a low rank with respedt to its usefulness to mankind. If there were in reality no more in it than innocent amusement ; if it were only one of those sweets that divine Providence has bestowed on us, to render the good of our present being superior to the evil of it, it ought to be considered as a bounty from Heaven, and to hold a place in our esteem accordingly. “ Painting is that pleasant, innocent amusement. But it is more ; it is of great use, as being one of the means whereby we convey our ideas to each other, and which, in some respedls, has the advan- tage of ail the rest. And thus it must be ranked with LECT. II.] HISTORY OP ART. 45 with these, and accordingly esteemed not only as an enjoyment, but as another language, which com- pletes the whole art of communicating our thoughts ; one of those particulars which raise the dignity of human nature so much above the brutes ; and which is the more considerable, as being a gift bestowed but upon a few even of our own species. “ Words paint to the imagination, but every man forms the thing to himself in his own way : language is very imperfedt : there are innumerable colours and figures for which we have no name, and an infinity of other ideas which have no certain w'ords univer- sally agreed upon as denoting them ; wdiereas the painter can convey his ideas of these things clearly, and without ambiguity ; and what he says every one understands in the sense he intends it. “ And this language is universal ; men of all na- tions hear the poet, moralist, historian, divine, or whatever other character the Painter assumes, speak- ing to them in their own mother tongue. “ The pleasure that Painting, as a dumb art, gives us, is like what we receive from Music ; its beautiful forms, colours and harmony, are to the eye w'hat sounds, and their harmony, are to the ear ; in both Arts, we are delighted in proportion to the skill of the Artist, and our own judgment to discover it. This beauty and harmony gives us so much pleasure at the sight of natural pidlures, a prospedt, a fine skv, a garden, &c. and the copies of these (i. e. imi- tative pidhires), which renew the ideas of them, are consequently pleasant : thus we see spring, summer, and autumn, in the depth of winter ; and frost and snow, 46 HISTORY OF ART. [LECT. II. snow, if we please, when the dog-star rages. Nor do we barely see this variety of objects, but in good pictures We always see nature improved, or at least the best choice of it. We thus have nobler and finer ideas of men, animals, landscapes, See. than we should perhaps have ever had ; and see particular accidents and beauties which rarely or never occur to us personally ; and this is no inconsiderable addition to the pleasure. “ By reading, or discourse, we learn some parti- culars which we cannot have otherwise ; and by painting we are taught to form ideas of what we read : we see those things as the Painter saw them, or has improved them with much care and applica- tion ; and if he be a Raphael, a Guilio Romano, or some such great genius, we see them better than any one of an inferior character can, or even than one 6f their equals, without that degree of reflection they had made, possibly could. After having read Milton, one sees natuie with better eyes than be- fore ; beauties appear, which else had been unre- garded : so by conversing with the works of the best masters in painting, we form better images while we are reading, or thinking. “ I will add but one article more in praise of this noble, delightful, and useful art, and that is this : the treasure of a nation consists in the pure produc- tions of nature, or those managed, or put together, and improved by art : now there is no artificer what- soever that produces so valuable a thing from such inconsiderable materials of nature’s furnishing, as the painter ; putting the time (for that also must be con- sidered 47 LECT. II.] HISTORY OF ART. sidered as one of those materials) into the account : it is next to creation. This country is many thou- sands of pounds the richer for Vandyke’s hand, whose works are as current money as gold in most parts of Europe, and this with an inconsiderable ex- pence of the productions of nature. What a treasure then have all the great masters here, and elsewhere, given to the world !” These remarks, though made originally on the Art of Painting only (of which Mr. Richardson was writing), are equally applicable to the Arts of De- sign in their various branches. This gentleman, in another part of his works, is of opinion, that an Artist, by continually conversing with the perfections of Nature and Art, becomes not only a better proficient, but a better man. I heartily wish there was no reason to question the truth of this sentiment : certainly, I agree with him, that an Artist, whose knowledge of many beauties and won- ders in nature is extensive, and exact, ought to be deeply sensible of the divine perfections of their Author ; and in this view it appears, that the Arts may not a little contribute to the exercise of that ge- nuine piety, which, after all the applause due to other studies, is certainly the most excellent, and valuable, attainment. Aristotle indeed has said, that “ Sculptors and Painters teach morality in a way more ready and effi- cacious, than even philosophers ; and that some of their works are as capable of correcting vice, as the precepts of moralists.” It does not however appear from whose works Aristotle might have expected this 48 HISTORY OP ART. [lECT. II. this good effedt: so far as we can judge at present, if the pictures of those days were capable of pro- ducing it, they were very different from, as well as very superior to, the sculptures which remain. I shall not advert to the deficiencies of that system of morality which was current in the days of Ari- stotle, though, perhaps, a sarcastic observer might remark, that, morals equally good with those of some philosophers, were easily deducible from any kind of paintings or sculptures. But may not the Arts contribute to morality ? I am firmly persuaded, that every talent of the human mind not only may, but ought to advance good mo- rals : to think otherwise, appears to me, inconsis'ent with the character, and attributes, of our divine Author, ‘ from whom descends every good, and every perfect gift.’ And here I may say in favour of the Arts, at least so much as is usually said in favour of History, as teaching by examples, or of Dramatic Representa- tion, that it strongly impresses the miseries attending Vice, or the happiness attending Virtue. Instances of these, according to the subject, are not wanting : witness the guilty horrors of Richard, and the night- walkings of Lady Macbeth; witness the deterring picture of jealousy in Othello, and of improvidence in Lear : if avarice need a lesson, take it from Shy- lock ; if prodigality, read it in Timon. But it may be asked, “ hasPibfcure also its instances ? has it shewn the fatal end of Vice, and thereby read lessons of Virtue ?” Ever respebled be the memory of the in- genious Hogarth, who has taught us to answer this question HISTORY OP ART. 49 LECT. II.] question by affording an instance to which we ap- peal ; happy had it been for him, had all his pro- ductions equally tended to the encouragement of virtue, and the correction of vice ; but, while his history of the “ Industrious, and Idle Pren- tices,” his “ Harlot’s and Rake’s Progress,” and his “ Marriage A-la-mode,” remain, we shall certainly consider them as laudable examples of what may be done by the power of the pencil, in the cause of morality". Nor let the works of Mr. Pen- ny be passed over without encomium, by whoever recolleCts his pictures of “Vice negleCted in sick- ness;” and “ Virtue surrounded by sympathising friends.” “ The effeCts of Picture are sometimes wonder- ful. It is said, that Alexander trembled and grew pale, on seeing a picture of Palamedes betrayed to death by his friends ; it bringing to his mind a sting- ing remembrance of his treatment of Aristonicus. Portia could bear with an unshaken constancy her last separation from Brutus : but when she saw, some hours after, a picture of the parting of HeCtor and Andromache, she burst into a flood of tears. Full as seemed her sorrow, the painter suggested new ideas of grief, or impressed more strongly her own. I have somewhere met with a pretty story' of an Athenian courtezan, who, in the midst of a riotous banquet with her lovers, accidentally cast her eye on the portrait of a philosopher, that hung opposite to her seat : the happy charaCler of temperance and virtue, struck her with so lively an image of her own unworthiness, that she instantly quitted the room ; Edit. 7. H and. 50 HISTORY OP ART. [lECT. II. and, retiring home, became ever after an example of temperance, as she had been before of debauchery. You might tax me with doing injustice to the pre- sent times, were I to draw all my proofs from the ancient ; I appeal therefore to yourself, who have had an opportunity to prove it, whether you could look on the death of Germanicus, as painted by Poussin, without feeling a generous indignation at the cruelty of his oppressor, and an equal compas- sion for unhappy virtue. The representation of a plague, by the same Author, melts the soul into a tender participation of human miseries. These im- pressions end not here ; they give a turn to the mind advantageous to society ; every argument of sorrow, every object of distress, renews the same soft vibra- tions, and quickens us to aCts of humanity and be- nevolence.” Such are the sentiments of Mr. Webb. Morality, perhaps, may be truly but one, in its principles, and its Nature ; yet the modes of direct- ing our endeavours to promote it, may be several : they may, rather they must, be different, according to the difference of the vice they are required to correCt ; it would be nugatory to excite parsimony to frugality, or to counsel extravagance to liberality. Morals, also, are either public, or private : to pri- vate morals suit private subjects ; to public morals, suit subjects drawn from the important events which have contributed to the welfare, or to the injury, of states and communities : — the founding and em- bellishing of cities, the noble institutions of legis- lators, the improvement of mankind, by whatever means, and under whatever form, are subjects allied to 51 LECT. II.] HISTORY OF ART. t I r ! i J to public morals. Is an instance required of the utility of the Arts in this respeCt, we refer to the noble work of Mr. Barry, which certainly decides the question, in favour of that morality of which the Arts are susceptible. The public services of the Arts in respeCt of ho- norary rewards, to those who have deserved well of their country, and who have contributed to the ad- vantage of mankind, are too well known to need en- largement ; as they have been generally adopted wherever the Arts have flourished. Busts, statues, pictures, of heroes, of public benefactors, of men of learning, and of illustrious citizens, have ever been among (if they have not rather held the first place in) those distinctions which have been paid to merit ; and they have formed not merely the boast of the families descending from such honoured parents, but also of the cities, or the countries, which pro- duced the subjeCts of them : they have been, at the same time, tokens of grateful acknowledgment for benefits received, and of satisfaction that such worth had adorned the community, while as means of ex- citing in the breasts of beholders, especially of youth, the most laudable exertions after the same degrees of virtue, and the warmest emulation of that merit which may expeCl similar rewards, their bene- ficial effeCt has been beyond conception. Here, I think, I may safely conclude this dis- course ; I think I may safely infer, that the sub- ject, which is at once elegant, useful, and moral, which contributes to manifest, and to promote, the superiority of mankind over the creatures (in some H 2 respeCts 52 HISTORY OP ART. [lECT. II. respe&s our fellows), by affording fresh opportu- nities for the display of mental energies, by calling forth those energies from their obscurity into dis- tinction ; — such a subjeCt, I say, must deserve esteem : especially, if it be recolleCted, that a ge- nius for this purpose, though not an ordinary, is yet a real, and valuable, gift of Nature, and capable of a thousand different applications. Be it remem- bered, also, that by this gift the busiest of our senses (sight) is at once gratified and instructed, and the mind is improved and informed. RecolleCt too, the numerous services which literature and knowledge re- ceive from the Arts, and the intimate acquaintance with Nature to which the Arts contribute ; recolleCl the creative powers of Art, which dart throughout existence, which controul, as it were, times past, present, and to come ; which re-animate the dead, and which anticipate future life. If affeClion for our friends, if esteem for the worthy, if curiosity, laud- able curiosity, warm our bosoms, we shall confess our obligations to the Arts : if we desire that our dwellings should be embellished, that our personal appearance should be respeClable, — in short, if we wish to cultivate our genius, to regulate our minds, and to improve our morals, let us do justice to the Arts of Design, by a favourable opinion of their tendency, by a resolute study of their principles, and by a virtuous application of their powers. LECTURE LECT. III.] HISTORY OP ART 53 LECTURE III. ON GENIUS, AND BEAUTY* Ladies and Gentlemen, We have laid it down as a principle, that Nature, who does nothing in vain, has imparted to some per- sons peculiar talents and dispositions in favour of the Arts ; while at the same time we affirmed, that the natural abilities which are usually possessed by indi- viduals are capable of great improvement in this re- speCt, under proper cultivation. We have offered some observations, whose influence might tend to excite in the bosoms of our auditory, desires of such cultivation ; and our wish is, that such desires may be brought into activity, and eventually be gra- tified. That indeed is the main objeCt we have in view ; and these remarks are but introductory to those principles of Art, which may justly be deemed practical. Nevertheless, as the faculties, or qualities, of the human mind, are at all times important and pleasing subjeCts of inquiry, before we proceed to the prac- tice 54f HISTORY OP ARTw [LRCT. III., tice of Art, permit the introduction of a few sug- gestions on that disposition of mind which is favour- able to the reception of its principles, and on that particular end' which Art ever studies to accom- # ® v. i . . plish. Much has been said on the subject of Genius, which has been regarded as a peculiar gift of hea- ven, an intuitive excellence, not acquired, but na- tural : without meaning to controvert this opinion, at the same time, I must own, that attention, and study, seem to me to have- had- a very considerable (if not the greater) share in the formation of capital Artists. It is certain the eminence and the merit of some masters are incontestable, while their genius has been the subject of doubt, even among their admirers. Nothing is more difficult, than to define that dis- position of mind which is termed Genius : to reason clearly on any mental faculty, is not easy ; on this, which comprehends and combines almost every ob- ject in nature, our reasonings experience peculiar embarrassments. * The minds of some men not only grasp at, but also seem to attain, a very general knowledge of Na- ture ; they treat with equal facility the sublime beau- ties of historic composition, agreeable scenes of landscape, portraits from life, and many various sub- jects. Others, apparently more confined, are con- tent to rank as proficients in a single branch ; the inclination of these direCts them to the study of heads, or ruins, of still life, or of decoration only ; departments of Art which appear to such persons most 55 LECT. III.] HISTORY OF ART. most agreeable studies, while minds apparently more extensive disregard them as trifles. Shall we then suppose, that, in one instance, Ge- nius is adapted to wider scenes of Art, to more exten- sive, -land sublimer views of things ; and in the other in&tanCe, that Genius is equally adapted to those seem narrower, and perhaps contracted ? Is it still Genius, and of the same kind, but differently directed ; or, is it a peculiarity proper to each, and a distinction in the nature of Genius itself? Would those abilities which seem constructed on a great scale, be equally at home on a smaller scale ; and those constructed on a smaller scale, would they be equally at home on the larger scale, had such been the lot in life of their respective possessors ? These questions are very difficult to answer : but perhaps it is best to admit, that in all mental endowments there are infinite shades of distinction; is it not so in poetry, in philosophy, in mathematics ; why not then in the Arts ? the construction of the mind is va- rious in various persons, and perhaps no two persons are precisely equal in any one talent, but each is superior to the other in some particular instances. Or shall we endeavour to distinguish between in- clination and Genius by supposing, that a separate branch of Art may suffice the former, while the lat- ter desires universal attainment ? Or, shall we say, that inclination may subsist without efficient talents ? that not all who feel themselves excited to these ele- gant studies, are endowed with the happy abi- lities requisite to excel in them ? Certain it is, not a few who seem to desire proficiency in them evidently 56 HISTORY OP ART. [lECT. III. evidently fall short of excellence : but the most frequent causes of this failure, are, I apprehend, their unfortunate ignorance of the proper path at first setting out, together with a certain listless- ness, and indifference, which are insuperable, ob- structions to those who indulge them. ; rjz;u This idea may perhaps be supported by co^rary instances : first, of persons who seem to have had the most promising abilities, who yet have been mis- led by vanity, bewildered by misinformation, or en- ervated by indolence ; so that their time, their ta- lents, and themselves, were lost, as to any benefit, in any degree comparable to what might justly have been expected from them ; as on the contrary, some we have known, and others we have heard of, who, though regarded as destitute of Genius, properly speaking, yet by diligent application under good in- struction, have attained a very honourable station among the most reputable professors. But if vanity, misinformation, or indolence, have slain their thou- sands, I think I may safely say, dissipation has slain its ten thousands : there is nothing so ruinous to Art as dissipation indulged by those who cultivate it. I need but appeal to daily observation in proof of this fa Cl. It is unnecessary, I suppose, at this time, to en- ter very largely, or very accurately, into a disquisi- tion on the subjeCt of Genius : to point out the leading principles of it, as applied to our present purpose, will be sufficient ; and therefore I beg leave, not without considerable diffidence, to submit the fol- lowing thoughts on this subjeCt to candid attention. Whether 57 LECT. III.] HISTORY OF ART. Whether inclination be, or be not. Genius, it is the first requisite in a student. Not from that person whose desires are languid, whose disposition is frivolous, and wandering, is any considerable pro- gress to be expected : never yet were supine wishes, and dilatory efforts, rewarded with success. The Arts scorn to yield to such frigid suitors : their fa- vourable regards are only to be acquired by perseve- rance, and diligence ; to obtain the crown they be- bestow, animated endeavours, and laudable emula- tion, must continue to be exerted. I believe it is true of all professions, that resolu- tion to be a master of them is the ready way to at- tain that character ; and this is not less true in the Arts : but perhaps the Arts have one peculiar advantage, in the pleasure they yield to the student as he advances in the practice of them ; so that they may be said to be perpetually, as well as proportionately, rewarding those who study them. To the acquisition of any Art or Science, the possession of that capacity which is usually imparted to our species is unquestionably necessary : the ideot, the stupid, the perverse, are little improveable by tuition : to plant upon the rock, or to sow upon the sand, is not the most likely way to obtain a crop. But there is a principle necessary to a student, dis- tindt from what is commonly termed natural capa- city ; I mean, that quality of mind, which we call docility. Docility may be regarded as teachable- ness in general ; or, as a happy disposition to acquire Edit. 7. I some 58 HISTORY OP ART. [lECT. IIE some particular science 5 in which sense we take k here. If the mind be not possessed of docility, im- bibing readily the advice of a nr ster, treasuring up, reasoning on, and applying it, as circumstances oc- cur, farewel every expectation of success ; but where the mind, as it were, surveys an objeCt on all sides, carefully investigates its appearance, principles, and properties, undismayed by difficulties, or ingenuously stating them to those to whom they are familiar, and by whom they have been often overcome, then we may justly hope, that time, and experience, will ripen such a mind to an honourable maturity. A lively and vigorous imagination is a very considerable part of Genius. Most productions of Art may be denominated specimens of the Artist's imagination : no one supposes an Artist ever saw a groupe of figures, exaCtly in the same attitudes, lights, and shadows, as he presents them in his picture ; that is nothing more than a copy of a com- position formed in his mind, and transmitted on the canvas by the skill of his hand. If his imagination be frigid, and heavy, the same faults will be com- municated to the piece ; if it be enthusiastic, and wild, such will be his performance. A fertile fancy, indeed, may be restrained by precept ; reflection, and study, may rejeCt many ideas which present themselves, and, by selecting the happiest and most graceful, may not only moderate, but often prevent, extravagance ; while the coldly-conceptive mind, whose imagination is scarce moved by its subjeCt, can hardly be expeCted to surpass mediocrity, though surrounded LECT. III.] HISTORY OF ART. 5Q surrounded by the greatest advantages, and the best assistance. It must be confessed, the fancy of some masters has not only deviated from Nature, but from proba- bility and possibility likewise ; the centaur, the grif- fin, the sphinx, and other monsters, are instances of this ; and can only be defended by referring them to the class of emblematical compositions, whose li- berty is little other than licentiousness : yet even in these extravagant forms, there is often something more striking and agreeable, than in the tasteless pro- ductions of torpid frigidity. Imagination is a warm, active, expansive, faculty of the mind ; it is boundless in its nature, in its con- ceptions, and ideas, and claims the privilege of be- ing so : to confine it is to injure it ; closely to con- fine it, is to destroy it ; it delights in that boldness, that vivacity, that stretch of thought,, which it is not the lot of all to possess, but which, when possessed, designs and attempts whatever is surprising. Ima- gination has, in itself, neither moderation nor check ; to controul, to restrain, to counterpoise it, we must seek other principles, and engage other qualities. A delicate sensibility, which feels, as it were, intuitively, the impressions of picturesque beauty, should ever accompany a lively imagination. By this principle an Artist must select, or combine, the at- tractions of beauty, must distinguish the variety of images collected in idea, and determine their rela- tion to the business under conception ; must fre- quently separate what imagination had united, and I 2 restrain, 60 HISTORY OF ART. [lECT. III. restrain, or indulge, the vivacity of fancy. To this contribute a kind of tenderness of mind, a well-edu- cated, well-informed understanding, and a propriety of reflection consequent upon accurate information, which is of the highest value, where kind Nature has graciously imparted it, and where it has been ma- tured by liberal studies. Whether judgment may properly claim a place, as a part of Genius, I will not determine ; without it, Genius cannot attain to considerable merit or ap- plause, because others who possess this faculty them- selves, will unanimously condemn the greatest talents if they do not exhibit its influence : or if for a while, or in any single instance, the want of judgment may be tolerated, yet time, or closer attention, will cer- tainly deteCt the deficiency. Like a ship without its rudder, Genius, void of Judgment, may make a fair appearance at a distance, and seem to hold its course amid the billowing deep, but its success can be only seeming ; for indeed it is the sport of winds, and agitated by every wave. Judgment has been considered as a principle, whereby we determine not only ©n the excellence of what is presented to us in one whole, but likewise on the several parts ; and not only on the parts dis- tinctly, but also of their union in one whole ; its principal branches are Knowledge and Taste. Knowledge is an acquired quality; a quality arising principally from a habit of reflection, of comparison, and. of estimate. Knowledge is not an original qua- lity, like ignorance ; but it is the corrective antago- nist of ignorance ; which it gradually overcomes and displaces. LECT. III.] HISTORY OF ART. 6i displaces. After having made many mistakes, the mind becomes less exposed to mistake ; it forms more correct opinions of things, sees more clearly their just value, and more readily ranks them ac- cording to their proper claims and places. Know- ledge is to be acquired — by reading the works of those who have best written — by inspecting the best re- presentations of the best Artists — by considering the ends they had in view — by enquiring whether their labours were well directed in the choice of such ends — and whether they have taken the best methods to accomplish them. The conversation, remarks, and opinions, of liberal and competent judges, greatly conduce to the perfection of know- ledge, as well as to its acquisition ; and, indeed, where they can be enjoyed, they become not only the most pleasant, but often the most permanent mode of ac- quiring just and honourable ideas of merit : and I am sure this mode of acquiring knowledge conduces greatly to abate the rigour of criticism ; because many things in respeCt to the difficulties, peculiari- ties, or situations, of Art, of Artists, and of Pa- trons, may be illustrated and explained in discourse, which perhaps are not properly understood, nor to be properly understood, without this advantage. Taste is a faculty whose analysis has many difficul- ties, arising chiefly from the diversity of which it is capable. It is very embarrassing to observe how dif- ferently persons reason upon Taste ; or how they de- termine by what they esteem its impulse without reasoning. It is equally perplexing to account where- fore what at one time seems contrary to just taste, at another 62 HISTORY OP ART. [lECT. III. another time is thought perfectly coincident with it. From hence has arisen the proverb, •; a-J " . . X-dA Jii 1 ,bi/>ii t'.'.'j .O t. ; i -lit 1311 r,:; • '! i. r;;I + i • > ! 1 1 J 1 114 [lect.. v. LIST OF PLATES BELONGING TO f, f! ♦ L E C T U R E V. I l « ,1.., ,,'V , I dt/h; - PLATE XVII. ro vhj ::‘V< EYES AT LARGE. ,, : . " Divide the length of the eye seen in front into three parts, the center is the size of the sight and the proper opening of the eye, which is one-third of its length. The eye in profile is half the size of the eye in front, having only one part and a half. PLATE XVIII. NOSES AT LARGE. The nose seen in front is in width the length of the eye ; and in profile has the same dimensions.. The nostril is in height one-third of the width of the nose. PLATE XIX. MOUTHS AT LARGE. The mouth seen in front should have in length an- eye and a quarter. The mouth in profile nearly half the front. PLATE XX. EARS AT LARGE. The ear should be in length rather more than one quarter the height of the head. The width of the ear is half its length. PLATE LECT. V.] 113 PLATE XXI. \ , . PRINCIPLES OF DRAWING THE HEAD. The first thing to be observed in this plate is the oval A. B. C. D. E. F. G. H. which regulates and contrOuls the construction of the whole : this oval is divided in the middle, by the perpendicular line A.E; which perpendicular line is itself divided into four parts by the cross lines D. F : C. G : B. H : the lower division D, E, F. is subdivided into three parts by the lines a, b : the middle cross line C. G. is subdivided into five parts, by the lines 1. 2. 3. 4. The oval thus proportioned, represents the lines ne- cessary to the delineation of a head seen in front. If we imagine the head thus composed to move horizontally , turning as on a center, then the per- pendicular line A, E. proceeds into the place of the line A, f, E; and now represents the principles of a three quarters face. It is evident, the lines which mark the four divisions of the head D, F. — C, G, — B, H. maintain precisely the station and re- lation to each other which they had before. Imagine this head to continue turning horizontally , the perpendicular line moves on, till it occupies the place of A, B, C, D, E : which represents the prin- ciples, and attitude of a profile head : the crossing lines, D, F, — C, G, — B, H, retain their former situations, and still proportion the head : the lower division also continuing divided into three parts, corresponding to the lines a and b. Q 2 Dis- lit) [lect. V. Dismissing now all ideas of the front face, or of the three quarters face, let us attend to the nature and construction of the profile face, as if that only was upon the plate. It appears by inspection, that the line of the oval A, B, C, D, E, divided by the cross lines, gives the places of the features of the face. It appears also, that the equilateral triangle B, I, K, being divided on its side B, I, by the lines C and D, gives the same points for the features as did the former process by the oval, e . by both methods D is the bottom, and C is the top, of the nose. K, the other point of the triangle, is taken for the place of the ear. If the human head was perfectly egg shaped, or if it was turned in a lathe, this mode might be accu- rate ; but not only is the ear too large a feature to be indicated by a single point, but K is too backward for the general situation of the ear. To rectify this, some artists diredt to draw an equilateral triangle somewhat inclining as B, b, c. then, parallel to B, c, from- d (the place of the eye) draw d, e ; e is the point which indicates the hole of the ear, or the auditory passage. These mathemati- cal rules have each their imperfections, for reasons al- ready partly given, and hereafter to be enlarged on, I think it therefore unnecessary to say farther at present than that between these points e and K the ear may safely be placed : but it is evident, the principle which serves best for the nose, &c. (the advanced part of the face), is not equally applicable to the back part of the face ; and, on the other hand, the principle which best places the ear is neither very accurate nor very general, when used for the nose, &c. l PLATE « EECT. V.] 117 PLATE XXII. THE HEAD SEEN IN FRONT. This plate'is already partly explained, by what has been said in the Lecture, and by some of the ob- servations on the foregoing plate. The oval is di- vided by the line A, A. and crossed by the lines B, B, and C, C. The lowest division contains die mouth and ‘chin l 1 . 2. 3. The central division is again sub- divided into five parts, 1 . 1 . 3 , 4. 5. and in the second and fourth of these divisions the eyes are placed. The ears correspond to the length of the nose : and the neck appears to be about that length ; i. e. from the bottom of the chin to the pit of the clavicles. The forehead of this figure seems rather high ; but it must be owned the hair so commonly covers this part of the forehead, that rarely can its true dimen- sions be more than estimated. Beside this, it is to be considered, that, on all rounding bodies, the in- fluence of perspective is considerable, and that the apparent dimensions of their parts vary, in propor- tion to the rapidity with which their parts recede from the spectator’s eye : the forehead therefore re- ceding rapidly toward the crown of the head, the distance included in the upper division of the head usually seems less than it really is. PLATE 118 £lect. V, PLATE XXIII. THREE QUARTERS FACE. > - OUTLINES. . ' t • . /, • ; , ,, t , - r . ; , This is represented according to the ideas sug- gested in Plate XXI, divested of all other lines, and the features merely placed by light touches of chalk. . - - - • j ^ * » jAJ ... m J i . L ; - 3 i . 0':\ ; rf ; .• J + ' 1r?nr r, [ nt ~ ■ ' o ' j ^ <.* . * - i v ^ ^ ' J 3liJ - "iij Oj tiij \o f.’ojj ';! oaj PLATE XXIV. - PROFILE. ■ 2 OUTLINES. Is represented according to the ideas suggested ifi Plate XXL divested of all other lines, and the fea- tures lightly touched in. . v i * ’ . ’ It is adviseable that these heads and their fellows should be frequently repeated and studied. PLATE LF.CT, V.} 119 PLATE XXV. HEAD LOOKING DOWN. OUTLINES. A head partly looking down, wherein we perceive after what manner the lines which mark the fea- tures become the inferior part of a circle, as B B and CC. '-'>V ' ' ' ' PLATE XXVI. ♦ HEAD LOOKING DOWN. , r I U O Vi I Yi OOJ Cl ‘ ' 1 OUTLINES. A head looking down still more than the other, consequently the lines B B and C C are become still more concave : the features also being hidden by the projection of those above them, as observed in the Lecture. ' . - i . ]>fl<; ?; II i Jl- i Oil y .Z.’JOUOj t.aoo V f >1 cl 1 y r.i't *,< PLATE 120 [Lect. v. PLATE XXVII. HEAD LOOKING UP. 1 OUTLINES. In this example, we observe that the cross lines B B and C C assume the appearance of the superior part of a circle, the forehead recedes, and that the under part of the eye-brows, nose and chin, $re ex- posed to view. .r/xx XT/.; * PLATE XXVIII. :A WOCI DXIXOOJ HASH HEAD LOOKING UP. 7 .-.DO OUTLINES. . i : '' wob gnblool hx'jj A This head. i,s represented as looking up much 1 more than the former, consequently we see much more under the eye-brows, the nose, and chin ; the fore- head is reduced to very narrow dimensions, while the throat is very conspicuous. The lines B B and C C in this attitude appear very much rounded . PLATES LECT, V.] 121 PLATES XXIX. XXX. XXXI, XXXIL XXXIII. XXXIV. These Plates contain parts of the face drawn on a large scale, and with as much lightness as possible. Their various attitudes and characters render them desirable studies ; they are of further advantage as examples of handling. Edit. 7. ft LECTURE 122 OF CHARACTER. [LECT. VI. LECTURE VI. OF CHARACTER. Ladies and Gentlemen, X N pursuing our remarks on that division of our subject which now requests your attention, I flatter myself you will receive as well entertainment as im- provement ; of which, perhaps, you will be the more sensible, if, while we proceed on our subject, you recollect the remarks you cannot but have made on many articles similar to those we shall introduce ; and I more readily request the recollection of your former sentiments, because the peculiar character of certain persons cannot easily be mistaken, but will impress the mind of every observer. Did you never dislike a person merely from his appearance, without any other reason ? Did you never meet the man in whom you imagined you saw not only a de- ficiency of manners, but of sense, or of morals ? in whose vacancy of countenance you supposed you traced the signs of a correspondent vacancy of thought, and intellect ? On the other hand, many persons may at first sight have prepossessed you in their favour, and their countenances have been, as was OF CHARACTER. 123 LKCT. VI. J was said by Queen Isabella of Castile, equivalent to letters of recommendation. In such instances you have judged by cha- racter ; and, without perceiving it, have deter- mined by the principles which are to be discussed in the present discourse. That these principles are founded in nature, I shall now assume for granted *. should it be said in reply, — that prejudice has its share ; — that persons arrived to years of reflection, combine ideas of good-nature, or of peevishness, with features similar to those which they have pre- viously noticed as accompanying such qualities ; ad- mitting the fa£t, which indeed strengthens our argu- ment, I beg leave to enquire by what principle do children fondle, caress, and become intimate with, some persons, while they rejedt the favors of others ? they do not reason from past experience ; but from present aspeCt : neither perhaps do animals always follow such experience, when they seleCt as friends, from among a numerous company, those persons whose looks indicate their natural benevolence. It is commonly said that dogs possess this sagacity in a high degree ; and though common sayings are not to be implicitly adopted, no one will assert that this is destitute of foundation. But the term character is of much wider extent in the arts of Design ; it expresses that peculiar and distinguishing appearance of feature, person, and deportment, which is proper to any, and to every, individual. By character we determine the sex, the time of life, the country or family, the mental disposition, the natural or acquired habit, and even R 2 (frequently) 124 OP CHARACTER. [lECT. VI. (frequently) the professions, and the pursuits, of those with whom we are conversant. Seeing then we have such variety opening to us in this article, let us proceed to investigate it with circumspection. Perhaps I ought first to consider the distinCt cha- racter of the sexes, as most obvious and undeniable, as being the determinate appointment of Nature itself: but I rather wish now to trace the charac- ter of the countenance, from infancy to age ; and the difference of sex is not very remarkable in early life. That kind of character which marks their years is so clearly discernible in Children, that it admits of no dispute ; the form of their features is as pecu- liar to themselves, as the simplicity of their minds. Children possess the same natural propensities as per- sons of riper years ; but their tender age prevents the appearances of those signs or marks which usually denote such propensities ; yet, we frequently ob- serve, even in very young children, certain indica- tions of genius, or of stupidity, which time after- wards justifies. In following the progress of human life, we re- mark, that most of its powers are at first very con- fined in their services ; by degrees they quit their inadlivity, and exercise the functions assigned them: it is true, the senses, and the organs of sense are per- fect ; but praCtice and repetition are necessary to facilitate their use. Even Sight is very deceptive to infants, as appears from their reaching at objedts much too distant for their attainment ; yet it should seem, that the sense of Sight, especially, is perfedt 2 very OP CHARACTER. 125 LECT VI.] very early, for its principal organs never vary in the dimensions they once possess ; the pupil equally per- forms its ollice, and the iris, as Mr. Hogarth ob- serves, continues ever the same ; “ so that,” says he, “ you sometimes find this part of the eye in a new- born infant full as large as in a man six feet high, nay, sometimes larger.” Undoubtedly, Nature pays the greatest attention to those parts whose uses are most early and important ; the head of a child, there- fore, is much nearer perfect proportion than any member of the body, because of its closer relation to the mental powers, and to the early employment of the faculties exercised in that part. Our present business is, to remark the external appearance of childhood, as seen in the countenance ; in describing which we say, that, whereas an oval is the form of the head in adult age, the head of childhood partakes much more of the circle, and the features incline to the circular form. In adult persons, we reckon the figure to contain in height, seven, seven and a half, or eight times the height of the head ; whereas the head of a child is so much larger in proportion, that it is full one fifth part of the whole figure. The features of childhood may be thus described : the eye (i. e. the iris) is large, being the standard wherewith the other features are measured, and by which we compare the daily per- ceived growings of the other parts of the face, and thereby determine a young child’s age ; the nose is flat ; the cheeks are plump and round ; the mouth is somewhat retired ; the ears are large ; and the whole together is rather heavy. Now this is the ge- neral. 126 OF CHARACTER. [lECT. VI. neral description of both sexes ; and will suit the countenance of either a boy or a girl : but Art must distinguish the sexes even in childhood, and though it is not uncommon for them to be mistaken for each other, by casual observers, yet a piClure should suf- fer no ambiguity in this matter. To determine this distinction the following hints may contribute. During early infancy, indeed, the faces of boys and girls have no considerable difference, and there- fore parents have found it necessary to distinguish them by dress ; but, as they grow up, the features of the boy get the start, and grow faster in propor- tion to the iris, (or ring of the eye) than those of the girl, which shews the distinction of sex in the face. Boys who have larger features than ordinary, in proportion to the iris, are what we call manly- featured children ; as those who have the contrary, look younger, and more childish, than they really are. Boys are generally more robust than girls ; their heads are broader, their ears larger ; they have usu- ally a greater quantity of hair ; more frequently curled ; girls may have their’s twisted, plaited, or wound upon their heads, with loose flying locks ; their hair commonly longer than that of boys. Girls discover a certain sprightliness and vivacity, which is not equally strong in boys, though ever so wanton and playful. Attention should be paid to the natural disposition of the sexes ; a doll, which as a toy well enough becomes a girl, is improper for a boy ; as manly exercises, horses, or arms, which are the de- light of boys, are not pleasing in the estimation of the softer sex, nor in our estimation of it. In 127 LECT, VI.] OF CHARACTER. In the progress of the countenance to maturity, the features lose much of their roundness of form, and acquire more of the oval ; the nose rises, the cheeks retire, the mouth forms, and the disposition of the mind begins to shew itself in the air of the face. Especially, we now perceive a difference of sexes, in the more speedy advance of the female features toward that form which is the ultimatum of beauty : By degrees. The human blossom blows, and ev’ry day Soft as it rolls along, shews some new charm. The father’s lustre, or the mother’s bloom. When adolescence and youth have arrived at Maturity, there is no longer any difficulty in dis- covering the sex ; for though some few of either sex might personate the other, yet, as it is the intention of Nature they should be distinct, it ’exceeds our power to controul that intention ; although in some instances we attempt it. I cannot but acknowledge myself of Sir Roger de Coverley’s opinion, who thought c your Abrahams, your Isaacs, and your Jacobs, had much the advantage of us in appearance, by the extent of their beards.’ In my eye there is a wonderful v ener ability , shall I call it ? in a silver beard : and though at present this appendage to the masculine countenance is under sentence of excision, the time has been when no man was thought wise without one ; and the time may return when it shall be restored to its honours, and politeness and civility be calculated by the dimensions of the beard. The 128 OF CHARACTER. [lECT. VI. The Greeks in the Hi ly Land relate a story of one of their patron saints to whom the acquisition of this article seemed so desirable, that his anxiety and washes for it quite preyed on his spirits. They add, that Satan conceiving lie had him at advantage, of- fered to furnish him handsomely on certain condi- tions ; but this proposal the holy man rejected with scorn and horror, giving at the same time a hearty tug at the stumps of w'hat little lie had : finding it lengthen by the attack, he repeated his endeavors with indefatigable perseverance ; and in short, to the great vexation of the father of evil, has now the ho- nor of wearing the longest beard in the calendar : i. e. from the chin to the ground. Whether this mi- racle excites similar wishes among my auditors, I will not determine ; but I observe the Ladies, by their smiles, seem to indicate their satisfaction that it happened, where we leave it — in a foreign land. The vicissitudes to which mortals are subject for- bid a permanence of that maturity to which we have traced them ; the parts, indeed, have attained their full growth, health enlivens the countenance, beauty adorns the cheek, the sparkling eye shoots love-in- spiring glances, the scarlet lips breathe sweet delight; but having now no further progress to make, the flower, which has completed its bloom, gradually changes, withers, fades, and dies. By degrees, im- perceptible at first, steals on a small alteration in the features, or the lines, of a face ; in advancing, the change becomes more visible, and at length becomes even rapid. The tints at first decline a little, but a certain sensibility of appearance, maintained by ma- turity OF CHARACTER. 12 9 1ECT. VI.] turity of mind, makes ample amends; afterwards, we perceive the sweet simplicity of many rounding parts of the face begin to break into less pleasing forms, with more sudden turns about the muscles ; till at last the all-conqueror Time, triumphs, over what was once manly vigour, or female beauty. We shall just remark the assimilation of the sexes in advanced years : during infancy they are greatly alike ; very distinCt at maturity ; in old age they re- turn to likeness. The most beautiful woman retains not the softness of her countenance, but, as wrinkles increase, approaches in appearance to a man of the same time of life ; as a man, formerly robust and athletic, loses the distinguishing characters of his sex, and, under the pressure of a load of years, de- serted by strength and vigour, dwindles into a close resemblance to an old woman. I offer no further thoughts on the character of the sexes, though much might be said : your own atten- tion, Ladies and Gentlemen, will amply supply, and indeed surpass, any remarks of mine on the subjeCt. I proceed to notice very briefly certain particulars of character, as the effeCts of those Natural In- clinations which are personal to each of us. As my intent is to assist the young designer in the study of Nature, whose appearances are the objeCl of our present attention, it would be beside my pur- pose to enter into mysteries of physiognomy, (a science, tc puzzled in mazes, and perplexed with errors,”) though some great artists have thought it the foundation of this part of their art, and an emi- Edit. 7. S nent 130 OP CHARACTER. [lect. VI. nent foreign virtuoso (Mr. Lavater, in his Essai sur la Phisiogtiomie), has lately supported it in all its ex- tremes : Yet, perhaps, it may not be altogether use- less, to remark, that the animal part of man is appa- rently governed by the same laws as animals in gene- ral ; and, that, when the human countenance is si- milar in its parts to those of certain animals, the man is supposed, with considerable probability, to have similar dispositions. Features of the swine, the ox, the sheep, and the lion, have been found in some faces: Socrates is an indubitable instance of the first, and Cromwell of the last; at the sight of whose portrait a certain Northern Potentate is said to have exclaimed ; “ I protest he makes me tremble !” 1 shall here offer the opinion of a very obser- vant artist, who has thus expressed himself : “We have daily many instances which confirm the com- monly-received opinion, that the face is the index: of the mind ; and this maxim is so rooted in us, that we cannot help, (if our attention be a little raised) forming some particular conception of the person’s mind whose face we are observing, even before we receive information by any other means. “ How often is it said, on the slightest view, that such a one looks like a good-natured man ; that he hath an honest, open countenance ; or looks like a cunning rogue, a man of sense, or a fool, &c. ? And how are our eyes rivetted to the aspedls of kings and heroes, murderers and saints ? and as we contem- plate their deeds, seldom fail making application to their looks. It is reasonable to believe that aspedl to be a true and legible representation of the mind, 1 which 131 LECT. VI.] OF CHARACTER. which gives every spectator the same idea at first sight, and is afterwards confirmed in faCt - r for in- stance, all concur in the same opinion at first sight of a downright ideot. “ There is little more to be seen by children’s faces, than that they are lively or heavy ; and scarcely that, unless they are in motion. Very handsome faces, of almost any age, will hide a foolish or a wicked mind, till they betray themselves by their actions or their w r ords ; yet the frequent aukward movements of the muscles of the fool’s face, though ever so handsome, is apt in time to leave such traces up and down it, as will distinguish a defeCl of mind upon examination : but the bad man, if he be an hypocrite, may so manage his muscles, by teaching them to contradict his heart, that little of his mind can be gathered from his countenance ; so that the character of the hypocrite is entirely out of the power of the pencil, without some adjoining circum- stances to discover him, as smiling and stabbing at die same time, or the like. “ It is by the natural and unaffected movements of the muscles, caused by the passions of the mind, that every man’s character would in some measure be written in his face, by that time he arrives at forty years of age, were it not for certain accidents, which often, though not always, prevent it ; for the ill-na- tured man, by frequently frowning and pouting out the muscles of his mouth, doth in time bring those parts to a constant state of the appearance of ill-na- ture, which might have been prevented by the con- stant affeCtation of a smile ; and so of the other pas- S 2 sions ; OF CHARACTER. 132 [lect. VI. sions ; though there are some which do not affedl the muscles at all (simply of themselves) as love and hope. “ But, lest I should be thought to lay too great a stress on outward shew, it is acknowledged there are so many different causes which produce the same kind of movements and appearances of the features, and so many thwartings by accidental shapes in the make of faces, that the old adage, fronti nulla fdes y will ever stand its ground upon the whole ; and, for very wise reasons. Nature hath thought fit it should.. But, on the other hand, in many particular cases, we receive great information from the expressions of the countenance.” Character is most clearly discerned in those parts of the face which chiefly contribute to expres- sion : in expression they appear more powerful and and adfive, as the occasion is recent and sudden ; but, the cause of character being remote and latent, its tokens though gradual and abiding, are not equally obvious till after they have been confirmed by habit. Before I proceed to offer such observations on the features as have been usually adopted by those who have studied the subjedt, I beg leave to premise, that it is impossible to say, determinately, that as such and such features compose the countenance ojf a certain individual, therefore he is — morose — a glut- ton, See. because, the inclination of the human mind being not to one passion exclusively (though one may predominate) but compounded of many desires, and containing a variety of dispositions, frequently op- posite LECT. VI.] OF CHARACTER. 133 posite and contradictory, so the signs of those dis- positions oppose and contradict each other. Scarce any set of features exhibits anger, or ha- tred, affedtion, or tranquillity, alone ; because no person is constantly angry, though often ; or always tranquil and easy, how serene soever his life may be in general ; but, his sensations being various, at the same time, and at different times, his aspeCt presents the marks of that variety. In a great measure, from this source, arises that almost infinite diversity of character, which we remark in the human counte- nance ; hence the likeness, or unlikeness, in persons of the same family ; whose turn of mind being si- milar, or different, the family resemblance is varied into features corresponding therewith. I would say of the following remarks, as of those mathematical rules which we observed might be ap- plied to the features of the face ; they may impart an idea to the student, or direCt him in acquiring ideas, but, in my opinion, they must not be too generally applied, or too constantly depended on. We are told, that a forehead upon which the hair grows very low, especially if accompanied with wrinkles, is usually a sign of a gloomy disposition. Very thick eyebrows, seem to indicate jealousy and dislike. The Eyes very much contribute to cha- racter ; when large and fierce, they express courage and fury ; when soft and moderate, good-nature ; but if too small, they mark disingenuity and cun- ning. The Nose is the seat of anger ; and large nostrils may be thought to signify it ; the nose, when turned up> betokens sensuality ; and when ruddy, is- well 134 OF CHARACTER. [lECT. VI. well known as the sign of a drunkard. The Mouth discovers whether a person be churlish, or benevo- lent ; if the former, the under-lip has contracted a habit of pouting, and its corners bend downward ; if the latter, the corners of the mouth turn rather upward, as approaching to a smile, especially when about to speak. The cheeks, in persons of a com- placent temper, are seldom found hollow aand sunk in ; when plump, they generally represent jollity and mirth. You know that in some rules of arithmetic it is common to prove the truth of the operation, by re- versing the method taken to obtain the product ; should a similar process be adopted here, perhaps it would not be without its use : take, for instance, jollity and mirth ; who would think of representing them by meagre and sunken cheeks ? who would ex- press good-nature by a frown ? or petulance by a •smile ? But natural inclination, though a principle of great activity, is not infrequently so controuled and checked by acquired habit, as to lay dormant (or nearly) in a&ion and demeanor. If a person be choleric, he is nevertheless restrained, by a principle of good-breeding and manners, from indulging his choler : if he be a man of sense and wisdom, his care in this particular will greatly curb his disposi- tion. A person naturally gluttonous, will, if a man of decency, for decency’s sake refrain from gross debauchery. Now, in my opinion, this decorum of behaviour, though it cannot erase the lines of the countenance, yet should incline an Artist to soften them ; OP CHARACTER. 135 LECT. VI.] them ; nor represent to posterity as irascible, or as a glutton, him whose deportment is sedate and tem- perate. Acquired Habit, though it cannot erase the lines of a countenance, frequently adds others to them. Severe and long-continued study is apt to occasion a solemnity of aspeCt (chiefly seen in the brow) which should be carefully distinguished from ill-nature ; and indeed all professions produce a cer- tain something in the appearance of those who follow them, which is readily discernible : the soldier, the sailor, the butcher, are instances universally ad- mitted ; nor is it difficult to discover a taylor at first sight. Exceptions must be allowed, but the prin- ciple is just. This idea might be pursued in a great variety of remarks ; but we shall not enlarge on it here. Habit, arising from causes not professional, has many ways of shewing itself, and contributes not a little to character. A person who has constantly af- fected superior judgment (no matter in what art) acquires a certain positive and dogmatical air, both in his countenance and manners. Habit makes some hold down their heads, others hold them up ; some stare from habit ; others squint. Observation is the best guide on this subject ; the variety is too copious to be regulated by precept. As much of the habits acquired by persons in general, is the effeCl of that course of life to which they have been accustomed, I shall here introduce, as another cause of character, that various rank in rife, OF CHARACTER. [lECT. VI. 136 life, which, as things are circumstanced, makes no small difference between some persons and others. Mankind were originally equal, except what obe- dience was due to paternal authority ; but, now we see some exalted above others, and expedt a kind of dignity and importance from one station, which would surprize us in another. To kings, and prin- ces, to noblemen, and grandees, we look for very different demeanour and address from that of rustics and clowns ; and to see in them an air of majesty and elevation, which we suppose distinguishes them from the crowd. It is true, a rustic or a clown may sur- pass, in natural aspedt, a nobleman or a king (and indeed it is our felicity that the Author of our na- ture, in dispensing his favours, pays no regard to the glittering inventions of human vanity) nor can we limit mental qualities by external appearances, or trace them, universally, in the features of a counte- nance ; yet as Design cannot represent the mind, but through the medium of those features, it is not only pardonable, but commendable, where the liberty can be taken without trespassing on verisimility, to ex- hibit such traits as most impressively denote to the spedlator the charadler intended, be that charadler what it may. If a pidture represent a commander at the head of his troops, we expedt to discover in him a more mar- tial air, and greater gallantry, than in the soldiers, who, though valiant, must yet be supposed less ele- vated in the apparent dignity of valour than their leader is : if you ask, wherefore ? I would wish you tp consider a little intimately the causes for this sup- posed OF character. 137 LECT. VI.] posed distin&ion. Courage is a natural quality, which is equally possessible by the soldier as by his general ; so far they are upon a par : but is it to be supposed the soldier has had the same advantages of education ? has he pursued the same studies, practised the same manners, acquired the same liberal accom- plishments as his officer ? Here then are sufficient causes, arising from personal circumstances, for dis- tinction of character between two persons whose natural endowments may be equal ; and this without enforcing any remarks on the difference occasioned by the habit of authority and of obedience. Or, take as instances the manners of nobility — politeness, ease, affability ; these are the result of a more en- larged scheme of thought, and apprehension, than we suppose the leisure, or opportunity, of a rustic permits him to acquire ; not that his mental powers may be incapable of equal attainments, but that they have been beyond the reach of his station. Perhaps the distinction occasioned by station in life is yet more conspicuous in the other sex ; the air and appearance of a lady of rank, aided by internal, as well as external, embellishments, is surely differ- ent from that of her servant ; as that of her servant, from the opportunities she has possessed of noticing her mistress, may be (almost entirely) changed from what she was when a cottager’s daughter : and cer- tainly, amidst all its rusticity and plainness, her in- nocent modesty when a cottager’s daughter, was very superior to, as well as very different from, the dissolute appearance of those who have lost that Edit. 7. T prin- 138 OF CHARACTER. [lect. VI. principal ornament of female life. Add to this idea, the effedl of a certain consciousness (that abiding companion of guilt) whose presence discriminates an harlot from a woman of virtue, or a thief from a man of probity ; and which, though not competent evidence for the verdiCt of a jury, yet, frequently, determines general spectators to bring in the cul- prit guilty. The foregoing part of our subject has presented circumstances common to mankind : in every coun- try, in every clime, are these diversities to be found : but, a very considerable source of character is, that peculiarity of features which being distributed to various nations, distinguishes them from each other ; on this we proceed to observe, that the different nations which inhabit the globe, have each a something in their appearance peculiar to them- selves, arising either from climate, or custom, from religious rites, or civil manners, independent of that cast of features proper to each individual, and of whatever rank he may sustain in life- It is true, that among Europeans, and nations who have considerable intercourse with each other, this variety is not so striking as in people who never mingle with their neighbours ; because the former become in time not a little conformed to those with whom they have most intimate communication ; and natives of either country, who unite and mix with the other, diffuse their distinguishing peculiarities wherever they form connections. So likewise, per- sons of rank and fortune seldom present the marks of OF CHARACTER. LECT. VI.] 139 of their nation equally strong with the lower classes of people ; because, by acquaintance with foreigners at home, or residence among them abroad, they ac- quire much of their manners and deportment ; while the inferior part of mankind not having the same opportunities, but continually conversing among such as resemble themselves, preserve, in its full power, the original and popular character of their country. National distinctions of features and manners are so obvious, that little need be urged respecting them : it is unnecessary to prove that an Englishman does not resemble a Chinese, or a Frenchman a Hot- tentot : but it would require a very copious disserta- tion to examine into all the varieties that might be named ; neither is it easy to procure authentic por- traits of remote nations, sufficiently correCt, from which to form a judgment. For the information of my younger auditors, I shall solicit indulgence, while I state a few of the characteristic distinctions which prevail among mankind : the subjeCt is probably new to some, and cannot be without its use to any. Geographers, and others who have studied this matter, distinguish several varieties in the human species. I. The Laplander, and others who inhabit the northern parts of the globe (where Nature seems to be confined in her operations, “ bound by eternal frost”) whether European or American : these, we are told, have broad flat faces, broken and sunken T 2 noses. 140 OP CHARACTER. [lECT. VI. noses, the iris yellow-brown, inclined to black, the eye-brows drawn back towards the temples, high cheeks, large mouths, thick lips, and black hair ; their heads so large as to contain full one-fifth of the whole figure ; the major part are about four feet high ; tall persons among them about four and a half : the sexes are scarcely to be distinguished by their appearance. II. The Tartars, are a variety, whose faces are large, and wrinkled even in youth ; their noses thick and short, their cheeks high, the lower parts of their faces narrow, their chins long and prominent, their eyebrows very thick, and their figures of answerable dimensions. III. The Chinese have small eyes, and large eyelids, small noses, and as it were broken ; seven or eight bristles of a beard on each lip, and scarce any on the chin : the women use every art to make their eyes appear little ; and when, in addition to small eyes, they possess a broken nose, long, broad, and hanging ears, they suppose themselves perfeft beauties. IV. The Negro scarce requires description ; his flat nose and thick lips are well known ; as are his woolly kind of hair, and his jet-black complexion. V. The features and proportions of the Hotten- tot are yet different from, though in many respedls conformable to, those of the Negro. VI. The natives of North-America form an- other class of men, whose complexion varies from that of others ; as VII. Those I*ECT. VI.] GP CHARACTER. 141 VII. Those of South-America vary from those of the North. All these people (not to notice their smaller dirnrences) are totally distinCt from VIII. The race of Europeans in these tempe- rate latitudes. It were endless to enumerate the variety of national features in Europe alone, which yet are so strongly marked, that any person, conversant with them, per- ceives at once the natives of each country by that cast of countenance proper to it. I shall only fur- ther observe, that however dispersed among the na- tions of the earth, the Jews are a people not re- lated, or allied, to any of them, but continue pecu- liar and distinCt.. Beside national distinctions of feature, the nume- rous Disorders to which mankind are subjeCt, are considerable sources of Character. It is not difficult to distinguish sickness, or indisposition, from health : distempers, whether acute or chronical, generally produce correspondent effeCts in the countenance. Some persons from their birth are afflicted with dis- orders, which, by preying on their constitutions, induce melancholy, pain, peevishness ; their faces are pale, wan, livid ; the airs of their countenances dejeCted and despondent : more recent sufferings subjeCt others to similar tokens. Some diseases ex- press themselves evidently ; such as the jaundice, dropsy, &c. which we pass. I wish here to remark, that Dress, though no essential part of the person, is yet an essential part of character : the features of a face cannot be 2 changed,. 142 OP CHARACTER. [LECT. VI. changed, but their appendages may be, and accord- ingly have been, almost ad infinitum . For instance — The absence, or superfluity of the hair of the beard, and that of the head, the different forms into which it is curled, twisted, or plaited, and the in- numerable ornaments to which mankind have had, and still have, recourse, for an addition of (supposed) elegance, contribute very much to diversity of cha- racter. It was, certainly, a pleasant as well as curious work, composed by one Dr. Bulwer in the last century, which he called “ Ant hr op o -Metamorp hosts ; Man transformed, or the Artificial Changeling wherein he shews what a strange variety of shapes and dresses mankind have adopted, in the different ages and nations of the world. Even during our own time, we may remember no small difference in the same person, occasioned by that variety of fa- shion which has appeared among us. If we extend our thoughts a few generations, we find the hair worn almost plain, and whiskers in vogue ; afterwards, enormous bushes of black hair, succeeded by equally enormous bushes of white ; not to mention innumer- able revolutions in other parts of dress, from long to short, and from short to long ; each pleading some kind of elegance, or taste, to recommend it, — each alternately justly exploded. Not that every new mode of dress, or of de- coration, is thought elegant at first ; but, after the eye has been sufficiently accustomed to it, we commend it. In fad!, the force of custom is mere- jkECT. VI.] OF CHARACTER. 143 incredible ; could it else ever have been thought handsome, to wear the toes of the shoes half a yard in length, insomuch that necessity obliged the wearer to tie them to his knees ? or unless this potent principle had reconciled the ladies to the enormity of their dress, could our wise an- cestors have had occasion to enact a statute restrain- ing the immensity of ruffs ? The various dresses of mankind, perhaps, might have their origin in utility, but they are certainly retained by the power of custom. Education has taught the youth to affix ideas of dignity, or of ele- gance, to certain habits ; and willing to share the respect paid to these habits, they adopt them with, readiness, if ever they have occasion to wear them. This is, especially, notorious, in relation to habits of office, which, though frequently unnatural, and cumbersome, yet seem to impart a certain import- ance to the wearer, correspondent to our regard for his station : in which respect they greatly contri- bute to character. The ruffs and caps of our forefathers would so effectually im-charaflerize a modern fine gentleman, that his most intimate acquaintance would not know him : nor is less remarkable the effect produced by the redundant full-bottomed wigs of our great law- officers ; to which, if the pendent beard were added, when Mr. Serjeant became a Judge, he might justly defy the acutest brother of the coif to discover him. In effect, the features of any man, who has not a very singular cast of countenance, may be so dis- guised 144 OP CHARACTER. [lECT. VI. guised by various forms of dress, as scarcely to ap- pear the same. The uses of this principle on the stage are notorious ; and perhaps in real life its in- fluence is much more frequent, and deceptive, than is generally imagined. I shall only remark further, that as the intention of a portrait is to preserve to posterity the likeness of a person, it appears to me, to be the effedt of a vicious taste, when any one is painted, as it were, in masquerade. What relation has the character of Minerva sailing through the air, to a modern lady ? or that of a Gypsy, or Turkish dresses, or any fo- reign ornament ? Unless the real charadter of a Lady be what she is displeased with, or ashamed of, why assume one to which she has no relation, and that too in a pidture whose merit is resemblance ? This disposition is still less pardonable in the other sex, who yet frequently forget how much dress contributes to charadter. I perfedtly coincide with the idea, that in order to express situation and rank in life, something beside mere likeness may be admitted, or even may be necessary ; but how the robes of a Ro- man Consul contribute to