He that brings fulsome objects to my view, This principle extends equally to color and to every other part Composition embraces two considerations: first, as it respects alterations which may take place in a view, and which is, by the artist, termed composing it; and, secondly, as it applies to works of fancy purely. But as the principles of one regulate the other, all that will be necessary is briefly to state, that no license should be taken with the view, so as to affect the general features: diversifying masses of earth, agreeably breaking the fore-ground, or the occasional introduction or omission of any inferior object, is allowable. The forms of mountains, should they appear disagreeable, may be thrown into shade, or involved in clouds, in part, to conceal them; and the shadows may be artfully introduced, so C c as The knowledge of what is right in art, must be obtained from nature through the medium of art. PRINCIPLES TION. No alterations admissible in a view that affects the general fea tures. The judicious introduction of figures essential to eminence. Examples of excellence. as to produce an agreeably-shaped mass of light, though the objects themselves are unpleasant. Though we may be thus confined in treating a view, there will be ample latitude for the display of taste in the formation of the clouds, trees, light, and shade, and in the disposition of the animated objects. One thing highly necessary in the introduction of figures is, that they enter into and make part of the scene; and are not brought in as mere accompaniments, or as having no connection with the rest of the picture. This error is daily practised, and argues a most futile imagination. A man and woman talking, a solitary sailor, with a bundle at his back, or miserable fisherman, with now and then a cow or two to keep each other in countenance, form the utmost stretch of some peoples' fancy. By a little reflection, we shall avoid such absurdities, and be enabled to introduce our little group with fitness. As all ranks of persons inhabit the country, it admits of the utmost diversity in the figures; any degree of elevation or delicacy may be given, if accompanied by an appropriate employ. If the subject is pastoral, though the figures need not be Arcadian, the low and vulgar should be carefully avoided: it is our duty to raise, not depress, the human species: though our pursuits are humble, they need not be mean. The figures in the bustling scenes of Vernet are highly appropriate, and will be well worth consulting; and those in the landscapes of N. Poussin are excellent examples of the higher style. Gainsborough appears to be the only instance of the true pastoral that this country has produced, and is well worthy our attention for the figures. With a view to assist our inquiry, it may not be amiss to point out the peculiar excellencies displayed in the works of some of the most celebrated landscape painters. N. Poussin, for dignity, will be found highly deserving attention; his buildings and figures are unequalled. Titian's coloring is rich, accompanied with great freedom of hand, and fine forms of trees. G. Poussin's mountains are grand, and generally form a fine line of horizon, with a peculiarity in the deep parts of the picture, and depth of water truly great. The eccentricities of Salvator Rosa will furnish an example 1 cellence. ple of great union of parts as to chiaro-oscuro, color, composition, Examples of exand figures, while his rocks are sublime, and grandly formed; the whole accompanied with great freedom of penciling. The coloring of Claude is fine, accompanied with a lovely tone of air; but his compositions often appear studied; or, in other words, over-labored, from the introduction of too many beautiful parts. Wilson's compositions are grand, with a tone of color truly Titianesque, and a light and shade unequalled. The pastoral excellencies must be sought among the works of the Dutch and Flemish masters, particularly in those of Rubens, whose color and chiaro-oscuro are fine; Teniers, Jun. who, for firmness of touch, and the true silvery tone, stands unrivalled; Cuyp, for a light elegant touch, fine color, and cattle; P. Potter for cattle, and, in his best pictures, a deep tone of color; both the latter for a light elegant pencil, exquisite warm amber color, and elegantly formed trees; Berghem and Wouverman for animals, with a long string of et ceteras: Canaletti's buildings are boldly handled, with a fine tone of color. To enumerate all the excellencies to be found in the different masters were endless. It would be, however, unpardonable to pass over the merits of our countrymen Gainsborough and Barret; not to mention many justly celebrated living artists, whose works will ever rank among those of the first masters. The former, for lightness of handling, elegant rusticity of figures, breadth of chiaro-oscuro, and sweet silvery tone of color, is highly worthy of attention; while the latter, for the character of a tree, and the true tone of grey distance, is highly estimable. The three great names of Wilson, Gainsborough, and Barret, form a school for the student, while their labors reflect the highest honor on our nation. Some author calls painting a sixth sense; it certainly adds a delight to the existence of the artist, by enabling him to enjoy many beauties unnoticed by the common eye. For him the Spring Distills her dews, and from the silken gem C c 2 AKENSIDE. These Advantage arising from the study of the art. Nature the grand source. Objects of the heroic, or higher style of land. scape. These beauties, as they escape common observation, render it more our bounden duty not to suffer them to pass without making such memorandums as may secure them for future use: unless we do this, and resort frequently to nature for our materials, we shall fall into a habit of repeating ourselves, and our pictures will appear as if made up from the same small stock of ideas. It becomes an indispensible duty with us to view every thing with an eye to the art; from the palace to the cottage, from the craggy rock to the humble bank of earth; and the various kinds of trees, with each species of shrub, must not pass unnoticed. To the artist every thing is of use; beautiful or terrific, awfully vast, or elegantly little; all, all must be treasured up for future use: but still in our research, not the individual, but the species, must form the object of inquiry. The higher style of landscape is by some termed the heroic, to distinguish it from the pastoral. Among the objects of which the former is composed may be considered temples, pyramids, ruins of ancient palaces and castles, altars, mountains covered with snow, or involved in clouds, hanging rocks, and huge blocks, Of the pastoral bursting, as it were, out of the earth, &c. &c. Of objects for style. the latter, cottages, close woods, with open views of champaign countries, &c. may be noticed. These can only be considered as making the general features; a further information will depend on industry. Exertion and reflection equally mecessary. To act is as necessary as to think he who spends a life in comparing the styles of different masters, their peculiarities of color, and effect, or the propriety of their compositions, may, in the end, find himself a mere critic, but will never raise himself to the rank of an artist. Great advantage will be derived by frequently comparing our own works with the labors of others: this will give us cause to rejoice at our improvement; or, what is a great step towards it, will enable us to discover our defects. The arts would be unworthy our pursuit, were they of easy attainment; we should, therefore, if we wish to acquire excellence, be careful There is a third, a sort of mixed style, which does not deserve particular description, as it is composed of the other two. careful not to suffer ourselves to be robbed of our time through an indolence of spirit; something should be done every day, if we expect success. He who feels a desire to act, should be prompt to embrace the golden offer: if we neglect the opportunity to-day, we shall feel less inclined to-morrow; nor are we sure, at any other time, we shall be able to rekindle the same ardor. To act is far easier than to suffer; let us, therefore, husband that time, the continuance of which is so uncertain, and its loss so irrecoverable. Be wise to-day; 'tis madness to defer; In forming compositions it will not be sufficient to bring together materials only; this can, at best, serve only to indicate a fertility of invention; they must be combined in such a way, as to preserve a unity in the whole. Imagination is shown in the production of materials, but to arrange them requires the soundest judgment. To make all the parts of the picture tend to excite but one emotion, will require the utmost care. If the scene to be described is solemn, no lively nor fantastic image can be admitted: on the contrary, if the agreeable is intended, every thing gloomy or sad should be rejected. The necessity of this union of parts is equally understood by the poet, as the following quotations from Milton will evince: there is the utmost unity of parts in each, though tending to produce different sensations. Right against the eastern gate, Where the great Sun begins his state, Rob'd in flames and amber light, Indolence the grand enemy to the attainment of eminence. COMBINATION The proper ar rangement of objects depends on sound judg ment, Incongruous objects are not admissible in the same piece. How |