CRITICAL NOTICES OF NEW PUBLICATIONS. 



between Atheism and Christianity Illustrated ; or the Uneducated 

 Deaf and Dumb as Heathens, compared with those who have been 

 Instructed in Language and Revelation. The second edition is de- 

 dicated to John Mortlock, Esq., of Brighton, at whose desire and 

 charge it was undertaken. 



An Essay on the Nature, the End, and the Means of Imitation in the 

 Fine Arts, translated from the French of M. Quatremere de 

 Quincy, by J. C. Kent, London : Smith, Elder, & Co. 1836. 



This is a work of considerable merit, and should be in the hands 

 of every artist who aspires to a higher knowledge of his art than 

 consists in the mere manual skill. Art is a study, not mere handi- 

 craft. The great masters, whose works are the exemplars of future 

 generations, were not content to imitate even each other ; but out 

 of every model erected an original character. The pencil was 

 merely the transit to their thoughts, and the hand subservient to 

 their ideas. The executive power was forgotten in that of the 

 creative. Copyism is the bane of improvement : he who is content 

 to be a slave to the models of others may make a living, but he will 

 never make an artist. The disadvantages of a beginner are 

 scarcely surmountable ; with a young artist who, from indigence, 

 is compelled to make his profession too early a means of subsist- 

 ence, the greatest evil with which he has to contend arises out of 

 the ignorance and self-conceit of his sitters. The general demand 

 is for a likeness — a "speaking likeness" — to produce which the 

 artist must descend to the lowest faculty of his art — that of mere 

 imitative skill — which not only represses the ardour and retards 

 the improvement of his mind, but is even fatal to his success ; for a 

 " speaking likeness" must always be <an unpleasing one : but to 

 perpetuate that very familiarity of expression which is assumed in 

 general society, is degrading to one who is naturally succeptible 

 of a more noble and exalted bearing. Compare a " speaking like- 

 ness" with the features at such a time, and though the resemblance 

 be the same, the identity is lost. 



The artist should resemble, but not copy. Pie should be a pro- 

 found phrenologist and physiognomist, an acute observer, a reader 

 of the thoughts and intents of the heart, and by forming a 

 ready discovery of the ruling passion, and invest his portraitures 

 with that look which indicates their highest susceptibilities. In 

 this power lies the ideal — to represent human nature in its best 

 and most dignified apparition — to give importance to common- 

 place, and something beyond form to beauty — to paint the face as it 

 can look when influenced by the most elevated feelings — painting 

 what we should and could be, rather than what we are. Thus we 

 should exalt the art, ennoble the artist, and become possessed of a 

 likeness which we should be meliorated by contemplating. 



An artist has much to struggle with ; and though the means of 

 his improvement are not always attainable, the one great object — 



