i^ On Pdinlhig. 



to everv oae's recolleftion, whofc works pafs with the igno- 

 rant for thofe of their mafters. Perhaps this difTerence in the 

 works of artifts may arife from the external objefts and their 

 imaiTcs painted in the eye of fome, not agreeing ; which may 

 alfo account for the variation we obferve between the bulk or 

 altitude of bodies and their reprefentations by various artifts. 

 This peculiar habit of feeing may conftitute what we call 

 manner. 



It is certain too much copying, or too great a devotion to 

 the works of fome favourite mafter, brings on a habit of fee- 

 ing even nature with his imperfeiSlions. Hence it is, that 

 what is termed the fchools have in the end proved the ruin 

 of art ; not becaufe they were bad, but becaufe weak men 

 have been content with nature at fecond-hand : fome author 

 calls fuch people not nature's fons, but her grandfons. 



Before we quit this part of our efl'ay we will juft touch ori 

 the manner of penciling, alfo called handling. The ufe of the 

 pencil is diftinguiflied'into the fmooth or mellow, and the 

 expeditious or bold. The application of thofe manners muft, 

 in a great degree, depend on the fize of the picture to be 

 painted, alfo its fituation and fubjeft. As far as fubjcft is 

 concerned, the former method heft applies to objects in 

 themfelvcs beautiful ; as elegant female figures, youn^ and 

 fleek animals, paftoral, and all objetSls intended to delight. 

 The latter manner will heft affociate with aged, broken, and 

 irregular obje6ts, and fuch fccnes as are intended to excite 

 terrible emotions. The bold pencil of Rubens is highly ad- 

 mirable, and is a great beauty in his piftures ; while the 

 pencil of Van Dvck is more foft and mellow. Claude had a 

 fmooth pencil fuiting his choice of fubje*^; on the contrary, 

 Salvator Rola is bold, and well impafled with colour. The 

 pencil of Titian is a fine example for the heroic in landfcape, 

 or what may be termed the hiftorical ftyle, and which, as 

 mentioned in our firft elTay, derives its name from the dig- 

 nity "f the objefts of which the pitlure is compofed. Thole 

 are miftaken who imagine it derives its charafter from flight- 

 nefs and indecifion, and who dignify their own crude and 

 undiftinguifhabic nialles with that noble appellation. The 

 pencil of Titian is firm, bold, and at the fame time decifive, 

 and, in the higher ftvle of landfcape, may be oflercd as an 

 example worthy ot our attention. We fliall find mmiberlcfs 

 examples in the Dutch fchool to dirc6l our hand in the paf- 

 toral ; and the pencil of young Teniers is, perhaps, the fineft 

 in that part of the art. The pencil is not a mere vehicle for 

 laving on the colour, but its motion muft exprels the cha- 

 raScr of the various objefts it may be employed on. As in 

 8 iandfcape 



