Il6 On Painting. 



faults will ever be the mofl; perfeft work. Hence the found- 

 ation of a rational inquiry alter excellence in art; for he who 

 widies to examine a pifture nicelv or crilicallvj mull make 

 himfelf acquainted with the lirit idea, or general intention oi 

 the whole, then of each part feparatelv, confidcring them in 

 tliemfclves as relative to each other and to the whole. 



An inquiry after the different (tvlcs of paintiiig would na- 

 turally lead to a hidory of the artillelf; but as that is a fub- 

 ]tS: that has been fo frequently handled, we fliall only touch 

 fo far on it as mav immediatelv anfwer our purpoie. 



The fo much boafted criticifms on the works of the an- 

 tients, which are to be foimd in various authors, can be but 

 iittle depended on, though often drcflbd up in the technical 

 phrafes of art ; becaule the ftrongeil language will always be 

 ufed on the moil extraordinary occafion, but the advantage 

 refulting to the reader will depend on the capacity of the 

 writer. 



All difcufiion at prefent on works that have ceafed to exift 

 for near 2000 years would be onlv lofs of time, as, from 

 want of reference, they could not tend to illuftrate any one 

 rule of art. Such inquiries mav ferve to amufe the idle, but 

 will not tend in the lead to benefit the artill. 



No one can dei>y, however humiliating the thought may 

 be, that we are indebted to the Greeks for fome of the 

 fineft forms at prefent in art. Many have attributed their 

 fuperior powers to the climate: but we ought rather to afcribe 

 ihem to the freedom they enjoved, and the wiidom of their 

 legiflators ; not forgetting their enthufiafm for beauty, which 

 they conlklercd as a yift of the gods ; and that with them 

 men were more valued for their perfonai merit than for the 

 wealth they polVeired. The happy Grecian might fit himfelf 

 down contented in his poverty, knowing it was not thought 

 difreputable, and that his abilities would prove a fufficient 

 pafi'port to fociety and to the highefl honours. The modern 

 artill is folicitous of making money, knowing it is now the 

 rirft left of his abilities in the opinion of the world, and a 

 ftronger recommendation than wiidom. Hence the nobler 

 energies of the foul are weakened ; and from want of the 

 llronger motive, honour, the love of fame finks into the bafe 

 and felfifh defire of wealth. This has induced the' weak and 

 pufillanin.'ous to apply to the arts ; and as they afpire after 

 nothing but intceil, they are unacquainted with thofe fub- 

 lime conceptions the arts require. 



The Phoenicians arc believed not to have carried the arts 

 to any great degree of perfe6lion. To be fufficiently well for 

 the purpofe of exportation would be the utiuoll that would 



be 



