On Tainting. $$Z 



Called), and which may be confulered as the mod natural, 

 the others more pure. Thofe observations mult be confidered 

 as applying to the general character of the figures, and not to 

 the parts; the gladiator being in ftrong action, the appear- 

 ance of the mufcles is altered ; thofe in acYion being fliort, 

 and of courfe rounded more than thofe in rcpofe. 



Grace is of fo delicate a nature that it cannot exift in the 

 prefeuce of whatever is rude, vulgar, or exceffive : it charms, 

 captivates, and overcomes, by its beneficence : its motions 

 are eafy, moderate, and lovely, and it partakes more of the 

 humble than arrogant : it is.feen in the Apollo accompanied 

 with dignity, in the Venus of Medicis with modelly, and in 

 the Antinoiis in a more human and lefs elevated degree. 



Parmegiano poffefTed in a high degree the fafcinating 

 power of grace ; Corregio felt it in a certain degree; and the 

 females of Albano are diftinguifhed by it. Reynolds's por- 

 traits abound with it, and it will be fought for with fuccefs 

 in many of the noble monuments of Britifh art. 



Raphael underftood the grace of motion; but his dry go- 

 thic manner of execution did not aflbciate with it : he wanted 

 that fweet mellow pencil neceflary to beauty. 

 ■ If painting were an imitation of nature merely, as many 

 fuppofe, it would follow of courfe that it mould be inferior 

 to it, as the efficient muft always be fuperior to the effect 2 

 but this fubfifts conditionally : as in the power of light, and 

 its oppofite darknefs, nature has the advantage: but even 

 light is fubjugated to the powers of art, as in our paintings 

 on glafs, of which the eaft window of New College, Oxford, 

 Hands a moft glorious example, and may be juftly entitled the 

 firft work of the kind in the world*; but in the article of 

 beauty, and the juft power of combination, art has greatly 

 the advantage. 



Matter is imperfect, and all that is left us is (he will to 

 choofe ; and happy, thrice happy, is that artift who knows 

 the value of what is good, and in the early purfuit of his 

 (ludies learns to diftinguifh what is more or lefs great and 

 amiable, thereby fixing his delires on things worthy. 



By attentively confidering the works of the. great, from the 

 Greeks to the prefent time, we mall find they fixed their at- 

 tention on the moft noble part of the art, and purfued the 

 ftudy of it with unremitting ardour : on the contrary, inferior 

 beings became attached to mediocrity, and believed in it 



* Many ignorantly fuppofe the art of painting on glafs is loft : the fa<5t 

 is, if we are to judge from the fpecimens produced in the prefent age, ic 

 xicver was found till now. 



centred 



