252 Analyfis of the Art of Painting. 
: For the Monthly Magazine. * 3 ; 
Bese TABLE 
OF THE PRINCIPAL PARTS WHICH CONSTITUTE 
ee Fe A R’T | OQrFoo P ATR Tiare 
4 3 
it THE ART OF PAINTING, IT 18 REQUISITE TO CONSIDER 
on oe SE! Oe ee Glee 
NATURAL: HIS TORTIE ALA. 
Tue natural origin of Painting has its foua- The hiftorical origin of Painting has its founs 
dation in a want, and univerfal difpofition ef || dation in the monuments of antiquity : thefe 
the human mind. to exprefs its feniations, to|| monuments, however, prefent us with but few 
-defign, and to imitate. This want and diipof-}] authentic faéts, and can only be traced back to 
‘tion, which are engrafted in the very nature ef 1! certain epochas. In the moft ancient authors, 
man, render- the liberal arts indifpeniably ne-}| who have treated of the hiftory of the arts, 
cefflary; and thefe arts, of which painting is|| we meet with fome circumftances and fome de- 
one, forma kind of intelle€tual language, at- {| tails. which poffefs fufficient intereft to excite 
taching to the moft noble of all inftitutions ef- || curiofity. At prefent, the major part are nei- 
tablifhed in fociety, to wit, the fyftems of Re-|{ ther eflentially neceflary, nor extenfively ufe- 
ligion, of Heroifm, and Patriotif{m. ful, to the progre{s of artifts. 




Lik Sot Use 
Ry She ER id, [cease | . AGREEABLE. 

To the Sciences and Inftitu- 
tions in general, by the repre- 
fentation of the various objets 
of which they treat, and of the 
means which they employ. 
~ To Hiffory, by the reprefen- 
tation of facts, by the faithful 
confervation of objets, of mo- 
naments. of refemblances, and 
of particular cu‘toms. 
To Ethics, by the reprefen- 
To the Liberal Arts, by the|! As the objeé& of relaxation 
affinity which Painting, one of| and pleafure, whether by means 

the number, has with the ref, |!of the particular fatisfaction 
To the Mechanical Arts, by | which refults from the prodec- 
facilitating the intelligence, ex-{|‘ions of the art of Paintifg, in 

ks and imitation of what-||the imitations which it pro- 
ever human induftry has invent-|{!duces 5\. é 
ed; the artof Painting fup-ly- Or, with a view to monu- 
ing, in this refpeét, ‘the defi-|}ments and patriotic works ; 
deratum of an univerfal lan-|| Or, laftly, on the ground of 




tation of praife-worthy actions. || euage. - | propriety, and perfonal enjoy- 
And la] ' } ment. 
To Wipsaions becaufe Pie 
ing renders them the object of| | 
the fenfes, by laying before our} 
eyes the faéts which belong tc 
thefe inftitutions, and the aille-! 
gories which are appropriate to! ‘ 
them. : i 
ETS PERP RCI TE It eiae 
BY) TEE OR. [SB Orr eee 
‘By means of the concatena-|}:ion of interefting fads is con | : 
tion of the principles effentiai}/foned, and the cuflom of the Which comprifes 
to the art. ae periods of time, anc The habitual exercife of the 
By the help which it receives i: fierent people, together with} }arz, whence refult a freecom 
froin branehes of the diferent itheir allegories. ; jand facility of execution. 
{eiences ; fuch, for inftance, as}. BY means of obfervations ont] The choice of the beft me- 
anatony, which renders th: the j rms of bodies. ; thods, and of all the {uccours, 
ainter acquainted with gfeolagy,)| I heir colours. which can be employed in the ~ 
nd myolcgy. The effects of light. art 
a ‘ 
The effects of the paffions. The ferfeétion of inftruments 
By means of the math matics i The apparent motions of avi-||and materials, of the propor- 
which alone can efablifh thet! nated bodies. tion of thofe materials, and a 
precife laws of ferfpective and|} The accidents of every pofi-) confummate knowledge of the 
ponderation. ble denomination, to which the} praGtical ufe; which 6an, and 
jvifible, material part of nature]. cought, to be made of all thefe 
lis liable. ifeveral things, 


By means of hiffory and my- 
thology, to which the preferya- 

To 
