the expression of the actor ?—then he represents what is fantastic
and theatrical. For what is correct representation on the stage is
not correct in painting, more than it would be correct for the actor
to preserve those traits of expression which unhappily the physician
must be familiar with. Talents for observation cultivated into
good taste distinguish what is appropriate. The physician in
studying symptoms, the actor in personifying suffering, the painter
in representing it, or the statuary in embodying it in marble, are
observers of nature; but. each sees her differently, and with a
professional feeling.
The study of the academy figure is, undoubtedly, most essential,
but unless followed with some regard to science, it necessarily leads
to error.
In the first place, it may be remarked, that the academy figure
can give no aid in the study of the countenance. Here the
lessons of anatomy, taken along with the descriptions of the great
poets, and the study of the works of eminent painters, afford the
only resource.
But even for the anatomy of the body and limbs, the academy
figure is very far from being an infallible guide. The display of
muscular action in the human figure is but momentary, and cannot
be retained and fixed for the imitation of the artist. The effect
produced upon the surface of the body and limbs by the action of
the muscles, the swelling and receding of the fleshy parts, and that
drawing of the sinews or tendons, which accompanies exertion, or
change of posture, cannot be observed with sufficient accuracy,
unless the artist is able to class the muscles engaged in the
operation; and unless he has' some other guide than the mere
surface presents, which may enable him to recollect the varying
form.
When the academy figure first strips himself, there is a symmetry
and accordance in all the limbs ; but when he is screwed up
into a posture, there appears a constraint and want of balance. It
cannot be supposed, that when a man has the support of ropes to
preserve him in a posture of exertion, the same action of muscles
can be displayed as if the limbs were supported by their own
energy; and in all academy drawings, we may perceive something
wrong where the ropes are not represented along with the figure.
In natural action there is a consent and symmetry in every part.
When a man clenches his fist in passion, the other arm does
not lie in elegant relaxation: When the face is stern and vindictive,
there is energy in the whole frame : When a man rises
from his seat in impassioned gesture, a certain tension and
straining pervade every limb and feature. This universal state
of the body it is difficult to excite in those who are accustomed to
sit to painters; they watch his eye, and where they see him
intent, they exert the muscles. The painter, therefore, cannot
trust to the man throwing himself into a natural posture; he must
D D