FAINTING. 
The choice of attitudes is the principal sub- 
ordinate division of grouping. Whatever 
attitude is given, it must -not only contribute 
its due portion to the completion, of the 
group, but the greatest care rou^t be taken 
by the painter, that it does not appear to be 
introduced for that purpose merely. It must 
be appropriate to the character of the huti- 
vicinal figure, and expressive of its requisite 
action ; and it must, at the same time, com- 
bine whatever beauty otferm can be shewn 
by such a selection of turns or views of the 
body, as the necessary circumstances will ad- 
mit. The knowledge of generic characters, 
under the various modifications of sex, age, 
and condition ; of the various operations ot 
the passions in the human mind ; and a tno- 
I'ough acquaintance with the circumstances 
of the history dr other subjects to be repre- 
sented : are the best guides to a good choice 
of attitudes.' 
To the effect produced by well-chosen at- 
titudes, contrast. gives the most powerful aid. 
Contrast has been already defined (see C on- 
trast) ; and it is only to be observed lieie 
that in composition it extends not to human 
figures only, but to objects of every kind, 
animate or inanimate, and also to the effects 
ef light or clmro-scuro, 
Of draperies, and the proper modes of 
casting or disposing them, notice has been 
taken under the article Drawing. 
The management of the back-ground, or 
connection of the general effect, is, of all 
other parts of composition, at once the most 
difficult to be defined or performed. It con- 
sists in the general accordance and subordi- 
nation of objects with and to one another, so 
that they shall all concur to constitute but 
one single object. It is to the whole what 
t he grouping of lines, forms, and chiai o-scuro, 
is to a part. It is effected by a due combina- 
tion of fights and shades, by an union ot co- 
lours, and by such oppositions or contrasts 
as are sufficient tc relieve the distinct groups, 
and to give repose to the eye. Amidst se- 
veral gi pups (if the picture consists of such), 
it requires that one should be justly predo- 
minant in force and colour, ancl that all de- 
tached objects should be so united with their 
respective grounds as to form togetuer one 
general mass of repose for the support of 
the principal object. 
The satisfaction of the eye is the ultimate 
purpose of this difficult part of composition. 
Invention. It now remains to eniaige on 
the most arduous attainment of the painter, 
and which we have placed the last in the ol- 
der of his studies, because it is that waich 
gives the highest character to the artist, as it 
affords the greatest opportunities of display- 
ing the powers ot his mind. 
Invention comprises every kind of subject 
which can be represented to sight; but it is 
generally divided into historical, allegorical, 
and mystical. 
Invention simply historical, is the selection 
of such objects as plainly relate to or repre- 
sent a subject. Its degrees are more or less 
valuable according to its matter or subject, 
and its requisite properties are fidelity and 
perspicuity. It extends also to the introduc- 
tion of all" such embellishments as are con- 
sistent and congenial with the history repre- 
sented, in the same manner as in poetry. 
The same illustration by collateral erudition, 
Vol. II. 
the same enlivening by incidental ornament, 
the same blending ot poetic imagery (not 
over-stepping trutn), is admired in the painter 
as in the poet. 
I lie cartoons of Kaffaelle are among the 
works which present the finest examples ot 
this species of invention. The battles of Con- 
stantine, and some others by the same mas- 
ter, in the Vatican, are equally excellent. 
Allegorical invention is a choice of objects 
which serve to represent either wholly or 
partly what they are not; and of which the 
expression arises from illusion. Calumny 
dragged in, at the feet of Truth, as described 
by Lucian, and sketched by Ruffaelle, is 
wholly of this class. Such also is Hercules 
placed between Virtue ami Pleasure (gene- 
rally called tjie Choice of Hercules); and 
such also is the picture of the School ol 
Athens, by Raffaelle, in which many persons 
of various times, countries, and conditions, 
are brought together, to represent the various 
modes of philosophy. 
Other works are partly allegorical and 
partly historical ; in which the spectator easily 
distinguishes the figures purely historical from 
others mixed with them in the same picture, 
and entirely allegorical. Such are the well- 
known pictures of the history of Mary de 
Medici, painted by Rubens. 
The first great requisite of allegorical 
painting is, that it be intelligible. An alle- 
gory not understood, is a loss of labour both 
to painter and spectator. For this purpose, 
it must, in general, consist of such symbols 
as are established on good authority, or, if 
new, are obvious to the mind. 
In addition to this first requisite, the pro- 
per choice of allegory demands, either that 
the subject could in no other way be repre- 
sented, or that it could not be represented 
by historical invention in an equal degree of 
force and beauty. 
Mystical invention respects the expression 
of such ideas as are inculcated in our minds 
by the precepts of religion. The paintings 
in the Gapella Sistina at Rome, by Michael 
Angelo, exhibit an illustrious instance of this 
kind of invention ; and the student (with cer- 
tain modifications) can enter no betfer school 
of this part of art. The Transfiguration of 
our Saviour, by Raffaelle, the Annunciation, 
Holy Families, Sec. of numerous painters, 
are of the same kind. 
The style of mystical painting is sometimes 
familiar and tender, as in subjects of the 
Holy Family, but chiefly majestic and ele- 
vated. 
We have thus accompanied the painter, 
and slightly, but it is hoped justly, traced 
his path, through the long course of his stu- 
dies; in the prosecution of which he must 
himself contribute the fullest share of unwea- 
ried diligence and attention. Nor are his 
pursuits to be considered as bounded by the 
rules which have been given. Enough re- 
mains behind to exercise both his industry 
and genius. 
Beyond the complete possession of the va- 
rious component parts of art which have been 
enumerated, expression, in all its distinct 
powers of vivacity, justness, and delicacy, 
calls for every exertion of talent. See Ex- 
pression. And to all this, in order to at- 
tain perfection, must be superadded the rare 
and transcendant charm of grace, that inde- 
finable excellence which no painters are al~ 
Tt 
320 
lowed (o have reached, except Apelles, Kaf- 
faelle, and Correggio.' 
Of the different classes of painting. 
Painting is chiefly divided into historical 
(comprehending allegorical and mystical), 
grotesque, portrait,. fancy, animals, fruits and 
flowers, battles, Lndscape, sea-views, archi- 
tecture, still life. The subordinate divisions 
of all these are endless. 
I lie first lias been sufficiently spoken of 
under the head of invention, in the present 
article. 
Grotesque painting being also already ex- 
plained under its proper article, it is only 
necessary here to add, that the finest exam- 
ples of this species are to be found in the 
celebrated Loggia of the Vatican palace at 
Rome, painted from the designs of Raffaelle, 
and in If le ceiling of the portico of the Capi- 
tol, carved from those of Michael Angelo. 
Of portrait, as being a branch of painting 
to which our country is peculiarly addicted, 
it is requisite to give a more detailed ac- 
count. 
Portraiture. If the accurate imitation of 
nature is, on any occasion, capable of form- 
ing the principal merit ot a picture,, it must 
certainly be in portraiture, which not only 
represents a man in general, but such an one 
as may be distinguished from all other men. 
The greatest perfection of a portrait is ex- 
treme likeness, and the greatest fault is the 
resemblance of a person tor whom it was not 
designed, unless we are inclined to except a 
still more grievous detect, viz. the want of 
resemblance to any person whatever. . I. he 
resemblance of men to one another, is in- 
deed frequently found in living nature, but 
it is seldom or never so complete and entire, 
but that some particular turn or view of the 
face will betray the difference ; and it is the 
business of the "artist ever to discriminate, and. 
to appropriate to his pencil, those peculiar 
features, lines, and turns of the face, the re- 
presentation of which will effectually convey 
to the spectator the distinct especial idea of 
the person w hose portrait is set before him. 
Various difficulties attend, and not seldom, 
impede, the execution of this task. Il is 
true, that there is not a single person in the 
world, of whatever age, sex, or condition, 
who lias not a peculiar character both in 
body and face ; but it is also the essential 
duty of portraiture, that it not only imitate 
what we see in nature, but that it exhibit such 
views of nature as are confessedly the mos-t 
advantageous to the person represented. The 
moment that the idea raised by the sight of 
the portrait is inferior to that raised by the 
sight of the person, the labour of the artist 
sinks into the debasing region of caricature. 
Likeness, however, being the essence of 
portrait, it is unquestionably the part of the 
painter to imitate defects as well as beauties, 
since, by this means, the resemblance will be 
more complete. He is only to be aware that 
lie strictly preserves that balance which con- 
stitutes the character of the object. It has 
been sometimes suggested by those who are 
more willing to court favour than fame, that 
all appearances of deformity, when the air, 
temper, and general likeness of the face, can be 
discerned without them, ought to be omitted 
or corrected in portraiture ; but this must be 
done at least with considerable discretion; 
for, by too strenuous endeavours to correct 
