expression, a closer imitation of natural character may be adopted;
and at least it may be laid down, that where there is bold light, and
vivid colouring, there should also be strong and natural character,
bold and characteristic drawing. A painting, with high finishing
and bright colouring, demands minute expression, because the same
circumstances which display the natural colouring, are necessarily
accompanied by a minute disclosure of the parts, and a sharpness
of expression in the features.
Thus the painter must study, as a necessary part of his profession,
the traits of human expression. The noblest aim of
painting unquestionably is to reach the mind, which can be accomplished
only by the representation of sentiment and passion; of
the emotions of the mind, as indicated by the figure, and in the
countenance. If it be still contended that an imposing stillness
and tranquillity must pervade the higher subjects of painting,
I will venture to affirm, that it is a tranquillity which he can
never attain who is not capable of representing all the violence
and agitation of passion. It is not such repose as the artist
who has despised or neglected natural character may be able
to represent, but such as he alone can conceive and execute, who,
having commenced with natural forms and expression, has not
contented himself with the first lesson of delineating the effects of
passion with boldness, but has studied all the variety of expression,
and learned the anatomy of the face and. limbs in their most
violent action. Nay, tranquillity or repose, in the strict sense of
the words, cannot be characteristically expressed by one who could
not with equal facility give energy to the features and figure, and
action to the muscles; for in rest there must be character, and in
what this consists, can best be observed and understood by him
who has studied the effect of action. It ought also to be recollected
that repose and agitation must ever greatly depend on contrast
and opposition. There are few great subjects in history or mythology,
in which the tranquillity and higher beauty of expression in
the main figure, whether a hero in the midst of conquest, a heathen
deity, or the Saviour, does not borrow some aid from the harsher
features, more marked character, and more passionate gesture of
the surrounding groups.
Perhaps, I may be thought to have sufficiently pointed out
how dangerous it is, for one solicitous to excel as a painter, too
closely and indiscriminately to imitate the antique, and especially
the productions of ancient sculpture. But it is natural for the
student to believe that the study of the academy figure may serve
as a guard against all such danger; and afford him a sure criterion
for judging of the anatomy of his figures.
Where is the artist to find the principles of his art when the
object he desires is, to express the suffering of the mind under all
those influences which make the subjects of design in the higher
departments of art, and especially in history: is he to grin to
himself in a mirror ?—then he falls into caricature: is he to study