fixed the middle point, taken as a general principle, circumstances may oblige us to depart from it, either on the side of simplicity, or on that of variety and decoration.

I thought it necessary in a former Discourse, speaking of the difference of the sublime and ornamental style of painting,-in order to excite your attention to the more manly, noble, and dignified manner, to leave perhaps an impression too contemptuous of those ornamental parts of our art, for which many have valued themselves, and many works are much valued and esteemed.

I said then, what I thought it was right at that time to say; I supposed the disposition of young men more inclinable to splendid negligence, than perseverance in laborious application to acquire correctness; and therefore did as we do in making what is crooked straight, by bending it the contrary way, in order that it may remain straight at last.

For this purpose, then, and to correct excess or neglect of any kind, we may here add, that it is not enough that a work be learned; it must be pleasing: the painter must add grace to strength, if he desires to secure the first impression in his favour. Our taste has a kind of sensuality about it, as well as a love of the sublime; both these qualities of the mind are to have their proper consequence, as far as they do not counteract each other; for that is the grand error which much care ought to be taken to avoid.

There are some rules, whose absolute authority,

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like that of our nurses, continues no longer than while we are in a state of childhood. One of the first rules, for instance, that I believe every master would give to a young pupil, respecting his conduct and management of light and shadow, would be what Lionardo da Vinci has actually given; that you must oppose a light ground to the shadowed side of your figure, and a dark ground to the light side. If Lionardo had lived to see the superior splendour and effect which has been since produced by the exactly contrary conduct,-by joining light to light and shadow to shadow,though without doubt he would have admired it, yet as it ought not, so probably it would not, be the first rule with which he would have begun his instructions.

Again; in the artificial management of the figures, it is directed that they shall contrast each other according to the rules generally given; that if one figure opposes his front to the spectator, the next figure is to have his back turned, and that the limbs of each individual figure be contrasted; that is, if the right leg be put forward, the right arm is to be drawn back.

It is very proper that those rules should be given in the academy; it is proper the young students should be informed that some research is to be made, and that they should be habituated to consider every excellence as reduceable to principles, Besides, it is the natural progress of instruction to

teach first what is obvious and perceptible to the senses, from hence proceed gradually to notions large, liberal, and complete, such as comprise the more refined and higher excellencies in art. But when students are more advanced, they will find that the greatest beauties of character and expression are produced without contrast; nay more, that this contrast would ruin and destroy that natural energy of men engaged in real action, unsolicitous of grace. St. Paul preaching at Athens in one of the Cartoons, far from any affected academical contrast of limbs, stands equally on both legs, and both hands are in the same attitude: add contrast, and the whole energy and unaffected grace of the figure is destroyed. Elymas the Sorcerer stretches both hands forward in the same direction, which gives perfectly the expression intended. Indeed you never will find in the works of Raffaelle any of those school-boy affected contrasts. Whatever contrast there is, appears without any seeming agency of art, by the natural chance of things.

What has been said of the evil of excesses of all kinds, whether of simplicity, variety, or contrast, naturally suggests to the painter the necessity of a general inquiry into the true meaning and cause of rules, and how they operate on those faculties to which they are addressed: by knowing their general purpose and meaning, he will often find that he need not confine himself to the literal sense, it will be sufficient if he preserve the spirit of the law.

Critical remarks are not always understood without examples: it may not be improper therefore to give instances where the rule itself, though generally received, is false, or where a narrow conception of it may lead the artists into great errors.

It is given as a rule by Fresnoy, that the principal figure of a subject must appear in the midst of the picture, under the principal light, to distinguish it from the rest. A painter who should think himself obliged strictly to follow this rule, would encumber himself with needless difficulties; he would be confined to great uniformity of composition, and be deprived of many beauties which are incompatible with its observance. The meaning of this rule extends, or ought to extend, no further than this:—that the principal figure should be immediately distinguished at the first glance of the eye; but there is no necessity that the principal light should fall on the principal figure, or that the principal figure should be in the middle of the picture. It is sufficient that it be distinguished by its place, or by the attention of other figures pointing it out to the spectator. So far is this rule from being indispensable, that it is very seldom practised, other considerations of greater consequence often standing in the way. Examples in opposition to this rule, are found in the Cartoons, in Christ's charge to Peter, the Preaching of St. Paul, and Elymas the Sorcerer, who is undoubtedly the principal object in that picture. In none of those composi

tions is the principal figure in the midst of the picture. In the very admirable composition of the Tent of Darius, by Le Brun, Alexander is not in the middle of the picture, nor does the principal light fall on him; but the attention of all the other figures immediately distinguishes him, and distinguishes him more properly; the greatest light falls on the daughter of Darius, who is in the middle of the picture, where it is more necessary the principal light should be placed.

It is very extraordinary that Felibien, who has given a very minute description of this picture, but indeed such a description as may be rather called panegyric than criticism, thinking it necessary (according to the precept of Fresnoy) that Alexander should possess the principal light, has accordingly given it to him; he might with equal truth have said that he was placed in the middle of the picture, as he seemed resolved to give this piece every kind of excellence which he conceived to be necessary to perfection. His generosity is here unluckily misapplied, as it would have destroyed, in a great measure, the beauty of the composition.

Another instance occurs to me, where equal liberty may be taken in regard to the management of light. Though the general practice is, to make a large mass about the middle of the picture, surrounded by shadow, the reverse may be practised, and the spirit of the rule may still be preserved. Examples of this principle reversed may be found

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