Mr. West then continued to enumerate the honour which the successive ill.u.s.trious patrons of the fine arts have acquired, deducing from it motives of emulation to the young students to strive for similar distinction, that their names may be mingled with those ill.u.s.trious races and families to whom Heaven is pleased to give superior eminence and influence in human affairs. In doing this he took occasion to animadvert on the base adulation of the artists of France in the age of Louis XIV.; or rather of the dishonour which the patronage of that monarch has drawn upon himself, by the unworthy manner in which he required the artists to gratify his personal vanity. He then proceeded to give some professional advice. "I wish," said he, "to leave this impression on the minds of all who hear me, that the great alphabet of our art is the human figure. By a competent knowledge of that figure the painter will be enabled to give a more just character and motion to that which he intends to delineate. When that motion is actuated by pa.s.sion, and combined with other figures, groups are formed. These groups make words, and these words make sentences; by which the painter's tablet speaks a universal language;" and he concluded with saying, "Gentlemen, It is a great treasure and a great trust which is put into our hands. The fine arts were late before they crossed the British Channel, but now we may fairly p.r.o.nounce that they have made their special abode with us. There is nothing in this climate unpropitious to their growth; and if the idea has been conceived in the world, enough has been done by the artists of Great Britain to disprove it. I know that I am speaking to the first professional characters in Europe in every branch of elegant art, as well as those who are most distinguished in taste and judgment. If there be diffused through this country a spirit of encouragement equal to the abilities which are ripe to meet it, I may venture to predict that the sun of our arts will have a long and glorious career."

Chap. IX.

Discourse to the Royal Academy in 1794.--Observations on the Advantage of drawing the Human Figure correctly.--On the Propriety of cultivating the Eye, in order to enlarge the Variety of our Pleasures derived from Objects of Sight.--On characteristic Distinctions in Art.--Ill.u.s.trations drawn from the Apollo Belvidere, and from the Venus de Medici; comprehending critical Remarks on those Statues.

The prizes in the Royal Academy being distributed every second year, on the 10th of December, 1794, Mr. West delivered another Discourse, in which he took a more scientific view of the principles of the fine arts, than in the desultory observations which const.i.tuted the substance of his first lecture. As it contained much valuable information, mixed up with remarks incidental to the occasion, I have taken the liberty of abstracting the professional instruction from the less important matter, in order to give what deserves to be preserved and generally known in a concise and an unbroken form.

"It may be a.s.sumed," said Mr. West, "as an unquestionable principle, that the artist who has made himself master of the drawing of the human figure, in its moral and physical expression, will succeed not only in portrait-painting, but in the delineation of animals, and even of still life, much better than if he had directed his attention to inferior objects. For the human figure in that point of consideration, in which it becomes a model to art, is more beautiful than any other in nature; and is distinguished, above every other, by the variety of the phenomena which it exhibits, arising from the different modifications of feeling and pa.s.sion.

In my opinion, it would, therefore, be of incalculable advantage to the public, if the drawing of the human figure were taught as an elementary essential in education. It would do more than any other species of oral or written instruction, to implant among the youth of the n.o.ble and opulent cla.s.ses that correctness of taste which is so ornamental to their rank in society; while it would guide the artizan in the improvement of his productions in such a manner, as greatly to enrich the stock of manufactures, and to increase the articles of commerce; and, as the sight is perhaps the most delightful of all our senses, this education of the eye would multiply the sources of enjoyment.

"The value of the cultivated ear is well understood; and the time bestowed on the acquisition of the universal language of music, is abundantly repaid by the gratification which it affords, although not employed in the communication of knowledge, but merely as a source of agreeable sensation.

Were the same attention paid to the improvement of the eye, which is given to that of the ear, should we not be rewarded with as great an increase of the blameless pleasures of life,--from the power of discriminating hues and forms,--as we derive from the knowledge of musical proportions and sounds? The cultivation of the sense of sight would have such an effect in improving even the faculty of executing those productions of mechanical labour which const.i.tute so large a portion of the riches of a commercial and refined people, that it ought to be regarded among the mere operative cla.s.ses of society as a primary object in the education of their apprentices. Indeed, it may be confidently a.s.serted, that an artizan, accustomed to an accurate discrimination of outline, will, more readily than another not educated with equal care in that particular, perceive the fitness or defects of every species of mechanical contrivance; and, in consequence, be enabled to suggest expedients which would tend to enlarge the field of invention. We can form no idea to ourselves how many of the imperfections in the most ingenious of our machines and engines would have been obviated, had the inventors been accustomed to draw with accuracy.

"But, to the student of the fine arts, this important branch of education will yield but few of the advantages which it is calculated to afford, unless his studies are directed by a philosophical spirit, and the observation of physical expression rendered conducive to some moral purpose. Without the guidance of such a spirit, painting and sculpture are but ornamental manufactures; and the works of Raphael and Michael Angelo, considered without reference to the manifestations which they exhibit of moral influence, possess no merit beyond the productions of the ordinary paper-hanger.

"The first operation of this philosophical spirit will lead the student to contemplate the general form of the figure as an object of beauty; and thence instruct him to a.n.a.lyse the use and form of every separate part; the relation and mutual aid of the parts to each other; and the necessary effect of the whole in unison.

"By an investigation of this kind, he will arrive at what const.i.tutes character in art; and, in pursuing his a.n.a.lysis, he will discover that the general construction of the human figure in the male indicates strength and activity; and that the form of the individual man, in proportion to the power of being active, is more or less perfect. In the male, the degree of beauty depends on the degree of activity with which all the parts of the body are capable of performing their respective and mutual functions; but the characteristics of perfection of form in the female are very different; delicacy of frame and modesty of demeanour, with less capability to be active, const.i.tute the peculiar graces of woman.

"When the student has settled in his own mind the general and primary characteristics, in either s.e.x, of the human figure, the next step will enable him to reduce the particular character of his subject into its proper cla.s.s, whether it rank under the sublime or the beautiful, the heroic or the graceful, the masculine or the feminine, or in any of its other softer or more spirited distinctions. For the course of his studies will have made him acquainted with the moral operations of character, as they are expressed upon the external form; and the habit of discrimination, thus acquired, will have taught him the action or att.i.tude by which all moral movements of character are usually accompanied. By this knowledge of the general figure, this habitual apt.i.tude to perceive the beauty and fitness of its parts, and of the correspondence between the emotions of the mind and the actions of the body, he will find himself in possession of all that Zeuxis sought for in the graces of the different beautiful women whom he collected together, that he might be enabled to paint a proper picture of Helen; and it is the happy result of this knowledge which we see in the Apollo Belvidere and the Venus de Medici, that renders them so valuable as objects of study.

"But the student must be always careful to distinguish between objects of study and objects of imitation; for the works which will best improve his taste and exalt his imagination, are precisely those which he should least endeavour to imitate; because, in proportion to their appropriate excellences, their beauties are limited in their application.

"The Apollo is represented by the mythologists as a perfect man, in the vigour of life; tall, handsome and animated; his locks rising and floating on the wind; accomplished in mind and body; skilled in the benevolent art of alleviating pain; music his delight, and poetry and song his continual recreation. His activity was shown in dancing, running, and the manly exercises of the quoit, the sling, and the bow. He was swift in his pursuits, and terrible in his anger.--Such was the Pythian Apollo; and were a sculptor to think of forming the statue of such a character, would he not determine that his body, strong and vigorous from constant exercise, should be n.o.bly erect; that, as his lungs were expanded by habits of swiftness in the chase, his chest should be large and full; that his thighs, as the source of movement in his legs, should have the appearance of enlarged vigour and solidity; and that his legs, in a similar manner, should also possess uncommon strength to induce and propagate the action of the feet? The nostrils ought to be elevated, because the quick respirations of running and dancing would naturally produce that effect; and, for the same reason, the mouth should appear to be habitually a little open. While his arms, firm and nervous by the exercise of the quoit, the sling, and the bow, should partic.i.p.ate in the general vigour and agility of the other members;--and would not this be the Apollo Belvidere?

"Were the young artist, in like manner, to propose to himself a subject in which he would endeavour to represent the peculiar excellences of woman, would he not say, that these excellences consist in a virtuous mind, a modest mien, a tranquil deportment, and a gracefulness in motion? And, in embodying the combined beauty of these qualities, would he not bestow on the figure a general, smooth, and round fulness of form, to indicate the softness of character; bend the head gently forward, in the common att.i.tude of modesty; and awaken our ideas of the slow and graceful movements peculiar to the s.e.x, by limbs free from that masculine and sinewy expression which is the consequence of active exercise?--and such is the Venus de Medici. It would be utterly impossible to place a person so formed in the att.i.tude of the Apollo, without destroying all those amiable and gentle a.s.sociations of the mind which are inspired by contemplating 'the statue which enchants the world.'

"Art affords no finer specimens of the successful application of the principles which I have laid down than in those two n.o.ble productions."

Chap. X.

Discourse to the Academy in 1797.--On the Principles of Painting and Sculpture.--Of Embellishments in Architecture.--Of the Taste of the Ancients.--Errors of the Moderns.--Of the good Taste of the Greeks in Appropriations of Character to their Statues.--On Drawing.--Of Light and Shade.--Principles of Colouring in Painting.--Ill.u.s.tration.--Of the Warm and Cold Colours.--Of Copying fine Pictures.--Of Composition.--On the Benefits to be derived from Sketching;--and of the Advantage of being familiar with the Characteristics of Objects in Nature.

In the discourse which Mr. West delivered from the chair of the Academy in 1797, he resumed the subject which he had but slightly opened, in that of which the foregoing chapter contains the substance. I shall therefore endeavour in the same manner, and as correctly as I can, to present a view of the mode in which he treated his argument, and as nearly as possible in his own language.

"As the foundation of those philosophical principles," said Mr. West, "on which the whole power of art must rest, I wish to direct the attention of the student, especially in painting and sculpture, to an early study of the human figure, with reference to proportion, expression, and character.

"When I speak of painting and sculpture, it is not my intention to pa.s.s over architecture, as if it were less dependent on philosophical principles, although what I have chiefly to observe with respect to it relates to embellishment;--a branch of art which artists are too apt to regard as not under the control of any principle, but subject only to their own taste and fancy. If the young architect commences his career with this erroneous notion, he will be undone, if there is any just notions of his art in the country.

"It is, therefore, necessary, as he derives his models from the ancients, that he should enquire into the origin of those embellishments with which the architects of antiquity decorated their various edifices. In the prosecution of his enquiries, he will find that the ornaments of temples and mausolea, may be traced back to the periods of emblematic art, and become convinced that the spoils of victims, and instruments of sacrifice, were appropriate ornaments of the temple; while urns, containing the ashes of the dead, and the tears of the surviving friends, were the invariable decorations of the mausoleum. The good taste of the cla.s.sic ancients prevented them from ever intermixing the respective emblems of different buildings, or rather, in their minds custom preserved them from falling into such an incongruous error, as to place the ornaments belonging to the depositaries of the dead on triumphal arches, palaces, and public offices.

They considered in the ornaments the character and purpose of the edifice; and they would have been ashamed to have thought it possible that their palaces might be mistaken for mausolea, or their tombs for the mansions of festivity.

"Is the country in which we live free from the absurdities which confound these necessary distinctions? Have we never beheld on the porticoes of palaces, public halls, or places of amus.e.m.e.nt, the skins of animals devoted to the rites of the pagan religion, or vases consecrated to the ashes of the dead, or the tears of the living? Violations of sense and character, in this respect, are daily committed. We might, with as much propriety, adorn the friezes of our palaces and theatres with the skulls and cross thigh-bones of the human figure, which are the emblems of death in every country throughout modern Europe!

"I do not here allude to any particular work, nor do I speak of this want of principle as general. It is indeed impossible that I can be supposed to mean the latter; for we have among us men distinguished in the profession of architecture, who would do honour to the most refined periods of antiquity. But all are not equally chaste; and in addressing myself to the young, it is my duty to guard them against those deviations from good taste, which, without such a caution, they might conceive to be sanctioned by some degree of example. It is my wish to preserve them from the innovations of caprice and fashion, to which the public is always p.r.o.ne; and to a.s.sure the youth of genius, that while he continues to found the merit of his works on true principles, he will always find, notwithstanding the apparent generality of any fashion, that there is no surer way, either to fame or fortune, than by acting in art, as well as life, on those principles which have received the sanction of experience, and the approbation of the wise of all ages.

"I shall now return to the consideration of painting and sculpture.

"The Greeks, above all others, afford us the best and most decided proofs of the beauty arising from the philosophical consideration of the subject intended to be represented. To all their deities a fixed and appropriate character was given, from which it would have perhaps been profanity to depart. This character was the result of a careful consideration of the ideal beauty suitable to the respective attributes of the different deities. Thus in their Jupiter, Neptune, Hercules, Vulcan, Mars, and Pluto; the Apollo, Mercury, Hymen, and Cupid, and also in the G.o.ddesses Juno, Minerva, Venus, Hebe, the Nymphs and Graces; appeared a vast discrimination of character, at the same time as true an individuality as if the different forms had been the works of Nature herself.

"In your progress through that mechanical part of your professional education, which is directed to the acquisition of a perfect knowledge of the human figure, I recommend to you a scrupulous exactness in imitating what is immediately before you, in order that you may acquire the habit of observing with precision every object that presents itself to your sight.

Accustom yourselves to draw all the deviations of the figure, till you are as much acquainted with them as with the alphabet of your own language, and can make them with as much facility as your letters; for they are indeed the letters and alphabet of your profession, whether it be painting or sculpture.

"These divisions consist of the head, with its features taken in three points of view, front, back, and profile; the neck in like manner, also the thorax, abdomen, and pelvis; thigh, knee, leg, ankle, the carpus, metacarpus, and toes; the clavicula, arm, fore-arm, wrist, carpus, metacarpus, and fingers. While you are employed on these, it would be highly proper to have before you the osteology of the part on which you are engaged, as in that consists the foundation of your pursuit. And, in this period of your studies, I recommend that your drawings be geometrical, as when you draw and study a column with its base and capital. At the same time you should not neglect to gain a few points in perspective, particularly so far as to give effect to the square and cylinder, in order to know what const.i.tutes the vanishing point, and point of distance, in the subject you are going to draw.

"After you have perfected yourselves in the parts of the figure, begin to draw the Greek figures entire, with the same attention to correctness as when you drew the divisions in your earlier lessons. Attend to the perspective according to the vanishing point opposite to your eye. You will naturally seek to possess your mind with the special character of the figure before you;--and of all the Grecian figures, I would advise you to make from the Apollo and Venus a general measurement or standard for man and woman, taking the head and its features, as the part by which you measure the divisions of those figures.

"Light and shade must not be neglected; for what you effect in drawing by the contour of the figure, light and shade must effect with the projections of those parts which front you in the figure. Light and shade there produce what becomes outline to another drawing of the same object in a right angle to the place where you sit.

"It seems not impossible to reduce to the simplicity of rule or principle, what may have appeared difficult in this branch of art to young students, and may have been too often pursued at random by others. All forms in nature, both animate and inanimate, partake of the round form more than of any other shape; and when lighted, whether by the sun or flame, or by apertures admitting light, must have two relative extremes of light and shadow, two balancing tints, the illuminated and the reflected, divided by a middle tint or the aerial. The effect of illumination by flame or aperture, differs from that of the sun in this respect; the sun illuminates with parallel rays, which fall over all parts of the enlightened side of the subject, while the light of a flame or an aperture only strikes directly on the nearest point of the object, producing an effect which more or less resembles the illumination of the sun in proportion to the distance and dimensions of the object.

"Let us then suppose a ball to be the object on which the light falls, in a direction of forty-five degrees or the diagonal of a square, and at a right angle from the ball to the place where you stand. One half of the ball will appear illuminated, and the other dark. This state of the two hemispheres const.i.tutes the two ma.s.ses of light and shadow. In the centre of the ma.s.s of light falls the focus of the illumination in the ball; between the centre of the illumination and the circle of the ball, where the illumination, reaches its extremity, lies what may be called the transparent tint; and between it and the dark side of the ball lies the serial or middle tint. The point of darkness, the extreme of shade, is diametrically opposite to the focus of illumination, between which and the aerial tint lies the tint of reflection. If the ball rests on a plain, it will throw a shadow equal in length to one diameter and a quarter of the ball. That shadow will be darker than the shade on the ball, and the darkest part will be where the plain and ball come in contact with each other.

"This simple experiment, whether performed in the open sun-shine, or with artificial illumination, will lead you to the true principles of light and shade over all objects in nature, whether mountains, clouds, rocks, trees, single figures, or groups of figures. It would therefore be of great use, when you are going to give light and shade to any object, first to make the experiment of the ball, and in giving that light and shade, follow the lessons with which it will furnish you.

"You will find that this experiment will instruct you, not only in the principles of light and shade, but also of colours; for that there is a corresponding hue with respect to colours is not to be disputed. In order to demonstrate this, place in the ball which you have illuminated, the prismatic colours, suiting their hues to those of the tints. Yellow will answer to the focus of illumination, and the other secondary and primary hues will fall into their proper places. Hence, on the enlightened side of a group or figure, you may lay yellow, orange, red, and then violet, but never on the side where the light recedes. On that side must come the other prismatic colours in their natural order. Yellow must pa.s.s to green, the green to blue, and the blue to purple. The primary colours of yellow, orange, and red, are the warm colours, and belong to the illuminated side of objects; the violet is the intermediate, and green, blue, and purple are the cold colours, and belong to the retiring parts of your composition.

"On the same principle, and in the same order, must be placed the tints which compose the fleshy bodies of men and women, but so blended with each other, as to give the softness appropriate to the luminous quality and texture of flesh; paying attention, at the same time, to reflections on its surface from other objects, and to its partic.i.p.ation of their colours. The latter is a distinct circ.u.mstance arising from accident.

"When the sun illuminates a human body, in the same manner as the ball, the focus of the illumination in that body will partake of the yellow; and the luminous or transparent tint, will have the orange and the red. These produce, what is called, the carnation. The pure red, occasioned by the blood, lies in the lips, cheeks, joints, and extremities of the figure, and no where else. On the receding side of the focus is the local colour of the flesh, and on the receding side of that is the greenish tint; in the shade will fall the cold or bluish, and in the reflection will fall the tint of purple. The most perfect tint of ground, from which to relieve this arrangement of colours, is either blue, grey, or purple, for those colours partake of the complexion of the watery sky in which the rainbow appears, or the ground which best exhibits the prismatic colours.

"In acquiring a practical knowledge of the happiest manner of distributing your colours according to nature, it will a.s.sist you, if you will copy with attention some pieces of t.i.tian, Correggio, Reubens, and Vand.y.k.e; the masters in whose works you will most eminently find the system pursued, which I have endeavoured to ill.u.s.trate by the simple image of the ball.

"Having pa.s.sed from the antique school, to that in which you draw after the living figure, still adhere to that scrupulous exactness of drawing with which you first set out; marking with precision the divisions of the figure. After you have made yourselves acquainted with the drawing of the living figure, you must then begin to enlarge your lines, and to give softness and breadth, to direct your attention to what const.i.tutes style and character, and to discriminate these from what const.i.tutes manner.

"To a.s.sist you in this nice discrimination, consult the prints and works of Michael Angelo, Raphael, and Hannibal Carracci. In them you will find the strongest and purest evidence of style and character, yet all differing from each other, and all equally brought out of nature. I do not recommend them with a view that you should adopt the style and character of any of them; but to show from those great examples, that style and character, although ever founded in nature, are as various as the individual genius of every artist; that they are as free to you as they were to those masters; that if you will consult your own mind, you will draw forth a style and character of your own, and therefore no man can ever be excused for sinking into a mannerist.

"And I cannot omit to observe here, that in the order of your studies, your mental powers should be cherished and brought into action by reading and reflection, but not until you have acquired practical facility in your art. Too often it happens, and I have seen it with concern, that the presumption of youth, or the errors of instruction, have reversed this order, and have carried many to attempt essays of research and learning, before they were well grounded in the principles of professional practice.

What other consequences can follow from such a course, but that the student will turn in discontent from his own productions, because they fall short of the ideas in his mind; and induce him, perhaps, to abandon, with disgust, a profession in which he might have shone with distinction, had he taken a right method of cultivating his own powers!

"The great masters were all at an early age great in the mechanical department of their art, before they established any name by their philosophical style and character. Michael Angelo, when a mere youth, modelled and drew in a manner which astonished his own master. Raphael, at not more than nineteen years of age, rivalled his instructor, Pietro Perugino, in his executive talent; and, owing to this, he was enabled, at the age of only twenty-five, to send forth his two great works, _the Dispute on the Sacrament_, and _the School of Athens_. Guido, Bernini, and many others of the first cla.s.s, pursued the same course of study, and were in the full possession of their powers very young. Vand.y.k.e, before he was twenty years old, a.s.sisted Reubens in his greatest works; and on a certain occasion, when the pupils of Reubens were amusing themselves in the absence of their master, one of them happened to fall against 'the Mother,' in the Descent from the Cross, which Vand.y.k.e repaired in a manner so admirable, that when the painter came next to the picture, he expressed himself surprised at the excellence of his own work, and said, that he thought he had not done that arm so well. In a word, wherever we find the executive power high at an early age, whether in painting or sculpture, we have an a.s.surance of future excellence, which nothing but indolence can prevent. And, to give that early facility correctness of execution, remember and pursue the great maxim of Apelles:--

"'_Nulla dies, sine linea._'

"The young artist may, indeed, draw lines every day and every hour with advantage, whether it be to amuse himself in society or in the fields. He should accustom himself to sketch every thing, especially what is rare and singular in nature. Let nothing of the animate creation on the earth, or in the air, or in the water, pa.s.s you unnoticed; especially those which are distinguished for their picturesque beauty, or remarkable for dignity of form or elegance of colour. Fix them distinctly in your sketch-book and in your memory. Observe, with the same contemplative eye, the landscape, the appearance of trees, figures dispersed around, and their aerial distance, as well as lineal forms. In this cla.s.s of observations, omit not to observe the light and shade, in consequence of the sun's rays being intercepted by clouds or other accidents. Besides this, let your mind be familiar with the characteristics of the ocean; mark its calm dignity when undisturbed by the winds, and all its various states between that and its terrible sublimity when agitated by the tempest. Sketch with attention its foaming and winding coasts with distant land, and that awful line which separates it from the Heavens. Replenished with these stores, your imagination will then come forth as a river, collected from little springs, spreads into might and majesty. The hand will then readily execute what it has been so practised in acquiring; while the mind will embrace its subjects with confidence, by being so well accustomed to observe their picturesque effect."