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was low； lame； and of a mean appearance。 None of these defects ought
to appear in a piece of which he is the hero。 In conformity to custom； I
call this part of the art history painting； it ought to be called poetical； as in
reality it is。
All this is not falsifying any fact； it is taking an allowed poetical
licence。 A painter of portraits retains the individual likeness； a painter of
history shows the man by showing his actions。 A painter must
compensate the natural deficiencies of his art。 He has but one sentence to
utter； but one moment to exhibit。 He cannot； like the poet or historian；
expatiate； and impress the mind with great veneration for the character of
the hero or saint he represents； though he lets us know at the same time
that the saint was deformed； or the hero lame。 The painter has no other
means of giving an idea of the dignity of the mind； but by that external
appearance which grandeur of thought does generally； though not always；
impress on the countenance； and by that correspondence of figure to
sentiment and situation which all men wish； but cannot command。 The
painter； who may in this one particular attain with ease what others desire
in vain； ought to give all that he possibly can； since there are so many
circumstances of true greatness that he cannot give at all。 He cannot
make his hero talk like a great man； he must make him look like one。
For which reason he ought to be well studied in the analysis of those
circumstances which constitute dignity of appearance in real life。
As in invention； so likewise in； expression； care must be taken not to
run into particularities； Those expressions alone should be given to the
figures which their respective situations generally produce。 Nor is this
enough； each person should also have that expression which men of his
rank generally exhibit。 The joy or the grief of a character of dignity is
not to be expressed in the same manner as a similar passion in a vulgar
face。 Upon this principle Bernini； perhaps； may be subject to censure。
This sculptor； in many respects admirable； has given a very mean
expression to his statue of David； who is represented as just going to throw
the stone from the sling； and in order to give it the expression of energy he
has made him biting his under…lip。 This expression is far from being
general； and still farther from being dignified。 He might have seen it in
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an instance or two； and he mistook accident for universality。
With respect to colouring； though it may appear at first a part of
painting merely mechanical； yet it still has its rules； and those grounded
upon that presiding principle which regulates both the great and the little
in the study of a painter。 By this； the first effect of the picture is
produced； and as this is performed the spectator； as he walks the gallery；
will stop； or pass along。 To give a general air of grandeur at first view；
all trifling or artful play of little lights or an attention to a variety of tints is
to be avoided； a quietness and simplicity must reign over the whole work；
to which a breadth of uniform and simple colour will very much contribute。
Grandeur of effect is produced by two different ways； which seem entirely
opposed to each other。 One is； by reducing the colours to little more than
chiaroscuro； which was often the practice of the Bolognian schools； and
the other； by making the colours very distinct and forcible； such as we see
in those of Rome and Florence； but still； the presiding principle of both
those manners is simplicity。 Certainly； nothing can be more simple than
monotony； and the distinct blue； red； and yellow colours which are seen in
the draperies of the Roman and Florentine schools； though they have not
that kind of harmony which is produced by a variety of broken and
transparent colours； have that effect of grandeur that was intended。
Perhaps these distinct colours strike the mind more forcibly； from there not
being any great union between them； as martial music； which is intended
to rouse the noble passions； has its effect from the sudden and strongly
marked transitions from one note to another； which that style of music
requires； whilst in that which is intended to move the softer passions the
notes imperceptibly melt into one another。
In the same manner as the historical painter never enters into the detail
of colours； so neither does he debase his conceptions with minute attention
to the discriminations of drapery。 It is the inferior style that marks the
variety of stuffs。 With him； the clothing is neither woollen； nor linen； nor
silk； satin； or velvet： it is drapery； it is nothing more。 The art of
disposing the foldings of the drapery make a very considerable part of the
painter's study。 To make it merely natural is a mechanical operation； to
which neither genius or taste are required； whereas； it requires the nicest
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judgment to dispose the drapery； so that the folds have an easy
communication； and gracefully follow each other； with such natural
negligence as to look like the effect of chance； and at the same time show
the figure under it to the utmost advantage。
Carlo Maratti was of opinion that the disposition of drapery was a
more difficult art than even that of drawing the human figure； that a
student might be more easily taught the latter than the former； as the rules
of drapery； he said； could not be so well ascertained as those for
delineating a correct form； This； perhaps； is a proof how willingly we
favour our own peculiar excellence。 Carlo Maratti is said to have valued
himself particularly upon his skill in this part of the art yet in him the
disposition appears so artificial； that he is inferior to Raffaelle； even in that
which gave him h