32. The most impotent, the most vulgar, and the coldest artists generally arrogate to themselves the most vigorous, the most dignified, and the warmest subjects.

33. He has powers, dignity, and fire, who can inspire a trifle with importance.

34. Know that nothing is trifling in the hand of genius, and that importance itself becomes a bauble in that of mediocrity:--the shepherd's staff of Paris would have been an engine of death in the grasp of Achilles; the ash of Peleus could only have dropped from the effeminate fingers of the curled archer.

35. Art either imitates or copies, selects or transcribes; consults the cla.s.s, or follows the individual.

36. Imitative art, is either epic or sublime, dramatic or impa.s.sioned, historic or circ.u.mscribed by truth. The first astonishes, the second moves, the third informs.

37. Whatever hides its limits in its greatness--whatever shows a feature of immensity, let the elements of Nature or the qualities of animated being make up its substance, is sublime.

38. Whatever by reflected self-love inspires us with hope, fear, pity, terror, love, or mirth--whatever makes events, and time, and place, the ministers of character and pathos, let fiction or reality compose its tissue, is dramatic.

39. That which tells us, not what might be, but what is; circ.u.mscribes the grand and the pathetic with truth of time, place, custom; what gives "a local habitation and a name," is historic.

_Coroll._--No human performance is either purely epic, dramatic, or historic. Novelty and feelings will make the historian sometimes launch out into the marvellous; or will warm his bosom and extort a tear.

The dramatist while gazing at some tremendous feature, or the pomp of superior agency, will drop the chain he holds, and be absorbed in the sublime; whilst the epic or lyric poet, forgetting his solitary grandeur, will sometimes descend and mix with his agents.

The tragic and the comic dramatists formed themselves on Hector and Andromache, on Irus and Ulysses. The spirit from the prison-house breathes like the shade of Patroclus; Octavia and the daughter of Sora.n.u.s[5] melt like Ophelia and Alcestis.

40. Those who have a.s.signed to the plastic arts beauty, strictly so called, as the ultimate end of imitation, have circ.u.mscribed the whole by a part.

_Coroll._--The charms of Helen and of Niobe are instruments of sublimity: Meleager and Cordelia fall victims to the pa.s.sions; Agrippina and Berenice give interest to truth.

41. Beauty, whether individual or ideal, consists in the concurrence of parts to one end, or the union of the simple and the various.

_Coroll._--Whatever be your powers, a.s.sume not to legislate on beauty: though always the same herself, her empire is despotic, and subject to the anarchies of despotism, enthroned to-day, dethroned to-morrow: in treating subjects of universal claim, most has been done by leaving most to the reader's and spectator's taste or fancy. "It is difficult," says Horace, "to p.r.o.nounce exactly to every man's eye and mind, what every man thinks himself ent.i.tled to estimate by a standard of his own."[6]

The Apollo and Medicean Venus are not by all received as the canons of male and female beauty; and Homer's Helen is the finest woman we have read of, merely because he has left her to be made up of the Dulcineas of his readers.

42. Beauty alone, fades to insipidity; and like possession cloys.

43. Grace is beauty in motion, or rather grace regulates the air, the att.i.tudes and movements of beauty.

44. Nature makes no parade of her means--hence all studied grace is unnatural.

_Coroll._--The att.i.tudes of Parmegiano are exhibitions of studied grace.

The grace of Guido is become proverbial, but it is the grace of the art.

45. All actions and att.i.tudes of children are graceful, because they are the luxuriant and immediate offspring of the moment--divested of affectation, and free from all pretence.

_Coroll._--The att.i.tudes and motions of the figures of Rafaelle are graceful because they are poised by Nature.

46. Proportion, or symmetry, is the basis of beauty; propriety, of grace.

47. Creation gives, invention finds existence.

48. Invention in general is the combination of the possible, the probable, or the known, in a mode that strikes with novelty.

_Coroll._--Invention has been said to mean no more than the moment of any fact chosen by the artist.

To say that the painter's invention is not to find or to combine its own subject, is to confine it to the poet's or historian's alms--is to annihilate its essence; it says in other words, that Macbeth or Ugolino would be no subjects for the pencil, if they had not been prepared by history and borrowed from Shakspeare and Dante.

49. Ask not--Where is fancy bred? in the heart? in the head? how begot?

how nourished?

_Coroll._--The critic who inquires whether in the madness of Lear, grief for the loss of empire, or the resentment of filial ingrat.i.tude preponderated--and he who doubts whether it be within the limits of art to embody beings of fancy, agitate different questions, but of equal futility.

50. Genius may adopt, but never steals.

_Coroll._--An adopted idea or figure in the works of genius will be a foil or a companion; but an idea of genius borrowed by mediocrity scorns the base alliance and crushes all its mean a.s.sociates--it is the Cyclop's thumb, by which the pigmy measured his own littleness,--"or hangs like a giant's robe upon a dwarfish thief."

51. Genius, inspired by invention, rends the veil that separates existence from possibility; peeps into the dark, and catches a shape, a feature, or a colour, in the reflected ray.

52. Talent, though panting, pursues genius through the plains of invention, but stops short at the brink that separates the real from the possible. Virgil followed Homer in making Mezentius speak to Rhbus, but shrank from the reply of the prophetic courser.[7]

53. Whenever the medium of any work, whether lines, colour, grouping, diction, becomes so predominant as to absorb the subject in its splendour, the work is degraded to an inferior order.

54. The painter, who makes an historical figure address the spectator from the canva.s.s, and the actor who addresses a soliloquy to you from the stage, have equal claims to your contempt or pity.

55. Common-place figures are as inadmissible in the grand style of painting as common-place characters or sentiments in poetry.

_Coroll._--Common-place figures were first introduced by the gorgeous machinists of Venice, and adopted by the Bolognese school of Eclectics; the modern school of Rome from Carlo Maratta to Battoni knew nothing else; and they have been since indiscriminately disseminated on this side of the Alps, by those whom mediocrity obliged to hide themselves in crowds, or a knack at grouping stimulated to aggregate a rabble.

56. The copious is seldom grand.

57. Glitter is the refuge of the mean.

58. All apparatus destroys terror, as all ornament grandeur: the minute catalogue of the cauldron's ingredients in Macbeth destroys the terror attendant on mysterious darkness; and the seraglio-trappings of Rubens annihilate his heroes.

59. All conceits, not founded upon probable combinations of nature, are absurd. The _capricci_ of Salvator Rosa, and of his imitators, are, to the fiends of Michael Angelo, what the paroxysms of a fever are to the sallies of vigorous fancy.

60. Distinguish carefully between bold fancy and a daring hand; between the powers of nature and the acquisitions of practice: most of Salvator's banditti are a medley made up of starveling models and the shreds of his lumber-room brushed into notice by a daring pencil.

61. Distinguish between boldness and brutality of hand, between the face of beauty and _the bark of a tree_.

62. All mediocrity pretends.

63. Invention, strictly speaking, being confined to _one_ moment, he invents best who in that moment combines the traces of the past, the energy of the present, and a glimpse of the future.

64. Composition has been divided into natural and ornamental: that is dictated by the subject, this by effect or situation.

65. Distinguish between composition and grouping: though none can compose without grouping, most group without composing.

_Coroll._--The a.s.sertion that grouping may not be composing, has been said to make a distinction without a difference: as if there had not been, still are, and always will be squadrons of artists, whose skill in grouping can no more be denied, than their claim to invention, and consequently to composition, admitted, if invention means the true conception of a subject and composition the best mode of representing it. After the demise of Lionardo and Michael Angelo, their successors, however discordant else, uniformly agreed to lose the subject in the medium. Raffaello had no followers. Tiziano and something of Tintoretto excepted, what instance can there be produced of composition in the works of the Venetian school? Are the splendid masquerades of Paolo to be dignified with that name? If composition has a part in the effusions of the great founder of the Lombard school, it surely did not arrange the celestial hubbub of his cupolas, content to inspire his Io, the Zingaro, Christ in the Garden, perhaps (I speak with diffidence) his Notte. So characteristically separate from real composition are the most splendid a.s.semblages, the most happy combinations of figures, if founded on the mere power of grouping, that one of the first, and certainly the most courteous critic in Art of the age, in compliment to the Venetian and Flemish Schools, has thought proper to divide composition into legitimate and ornamental.

66. Ask not, what is the shape of composition? You may in vain climb the pyramid, wind with the stream, or point the flame; for composition, unbounded like Nature, and her subjects, though resident in all, may be in none of these.