their figures either animation or character; they did not even open
the eyelids, or raise the arm from the side. A stillness and simplicity
of composition is thus the characteristic of ancient sculpture;
and we are told that Pericles, even in the best age of Grecian art,
was anxious that his artists should in all their works preserve this
grave simplicity of the early ages, as necessary to grandeur. It is
observed accordingly, that among the most striking marks of excellency
which distinguish the Grecian artists, the first and most
admirable is this noble simplicity; this sedate grandeur of expression
; and the prevailing tranquillity of soul which still appears
under the most terrible agitations, and the most violent passion.
Upon this chaste model was the taste in sculpture formed, in the
better ages of Greece and Rome; and its influence has extended
to modern times. Unfortunately this style of composing has been
perverted into an additional authority for rejecting powerful expression
and character even from the canvas. But we must never
forget the distinction between statuary and painting. The statuary
indeed must often, as well as the painter, represent what is not consistent
with perfect beauty; while both must sometimes preserve
an indefiniteness, and soften all the harsher, though strictly natural
lines of expression. Still however there is an essential and important
difference between the principle of composition in painting
and in sculpture.
In the statuaries of antiquity, we see a perpetual effort to exalt
their productions above the commonness of nature. In the expression
of passion, they studied a grand and general effect, avoiding
the representation of that minuteness or sharpness of feature, and
of those convulsions and distortions which are strictly natural: and
indeed it is scarcely consistent with the character of a statue to
represent the transitory emotions of violent passion. The statuary
must exercise his genius on the more sublime and permanent emotions,
as characterised in the countenance and figure; and much of
the difficulty of his art consists in preventing the calmness and
repose which ought to be preserved in the attitude and expression,
from extinguishing all character, and degenerating into indifference
and insensibility.
But this principle does not apply to the painter; and to transfer
to painting those rules of composition which flow from the study
of ancient sculpture, threatens the loss of all that is peculiarly
excellent in the art. As the painter’s materials do not admit of a
representation too nearly approaching to nature, a character and
expression stronger and more natural than is proper to a statue is
allowable on the canvas. It is very true, that the painter may
often be allowed to preserve much of the same gravity of style
with the statuary; that such compositions will possess a certain
augustness; and that some subjects require this, while many only
admit of it, provided the tone and principle of composition be well
preserved, and the painting be characterised by a low and sombre
colouring. In general, however, this is neither necessary nor perhaps
suitable to the style of composition in painting. A stronger