consists, I conceive, in the power of expressing that which employs your pencil, whatever it may be, as a whole; so that the general effect and power of the whole may take possession of the mind, and for a while suspend the consideration of the subordinate and particular beauties or defects.

The advantage of this method of considering objects, is what I wish now more particularly to enforce. At the same time I do not forget, that a painter must have the power of contracting as well as dilating his sight; because, he that does not at all express particulars, expresses nothing; yet it is certain, that a nice discrimination of minute circumstances, and a punctilious delineation of them, whatever excellence it may have (and I do not mean to detract from it), never did confer on the artist the character of genius.

Beside those minute differences in things which are frequently not observed at all, and when they are, make little impression, there are in all considerable objects great characteristic distinctions, which press strongly on the senses, and therefore fix the imagination. These are by no means, as some persons think, an aggregate of all the small discriminating particulars; nor will such an accumulation of particulars ever express them. These answer to what I have heard great lawyers call the leading points in a case, or the leading cases relative to those points.

The detail of particulars, which does not assist

the expression of the main characteristic, is worse than useless, it is mischievous, as it dissipates the attention, and draws it from the principal point. It may be remarked, that the impression which is left on our mind even of things which are familiar to us, is seldom more than their general effect; beyond which we do not look in recognising such objects. To express this in painting, is to express what is congenial and natural to the mind of man, and what gives him by reflection his own mode of conceiving. The other pre-supposes nicety and research, which are only the business of the curious and attentive, and therefore does not speak to the general sense of the whole species; in which common, and, as I may so call it, mother tongue, every thing grand and comprehensive must be uttered.

I do not mean to prescribe what degree of attention ought to be paid to the minute parts; this it is hard to settle. We are sure that it is expressing the general effect of the whole, which alone can give to objects their true and touching character; and wherever this is observed, whatever else may be neglected, we acknowledge the hand of a master. We may even go further, and observe, that when the general effect only is presented to us by a skilful hand, it appears to express the object represented in a more lively manner than the minutest resemblance would do.

These observations may lead to very deep questions, which I do not mean here to discuss; among

others, it may lead to an inquiry, Why we are not always pleased with the most absolute possible resemblance of an imitation to its original object? Cases may exist in which such a resemblance may be even disagreeable. I shall only observe, that the effect of figures in wax-work, though certainly a more exact representation than can be given by painting or sculpture, is a sufficient proof that the pleasure we receive from imitation is not increased merely in proportion as it approaches to minute and detailed reality; we are pleased, on the contrary, by seeing ends accomplished by seemingly inadequate means.

To express protuberance by actual relief, to express the softness of flesh by the softness of wax, seems rude and inartificial, and creates no grateful surprise. But to express distances on a plain sur face, softness by hard bodies, and particular colouring by materials which are not singly of that colour, produces that magic which is the prize and triumph of art.

Carry this principle a step further. Suppose the effect of imitation to be fully compassed by means still more inadequate; let the power of a few well-chosen strokes, which supersede labour by judgment and direction, produce a complete impression of all that the mind demands in an object; we are charmed with such an unexpected happiness of execution, and begin to be tired with the superfluous diligence, which in vain solicits an appetite already satiated.

The properties of all objects, as far as a painter is concerned with them, are, the outline or drawing, the colour, and the light and shade. The drawing gives the form, the colour its visible quality, and the light and shade its solidity.

Excellence in any one of these parts of art will never be acquired by an artist, unless he has the habit of looking upon objects at large, and observing the effect which they have on the eye when it is dilated, and employed upon the whole, without seeing any one of the parts distinctly. It is by this that we obtain the ruling characteristic, and that we learn to imitate it by short and dexterous methods. I do not mean by dexterity a trick, mechanical habit, formed by guess, and established by custom; but that science, which, by a profound knowledge of ends and means, discovers the shortest and surest way to its own purpose.

If we examine with a critical view the manner of those painters whom we consider as patterns, we shall find that their great fame does not proceed from their works being more highly finished than those of other artists, or from a more minute attention to details, but from that enlarged comprehension which sees the whole object at once, and that energy of art which gives its characteristic effect by adequate expression.

Raffaelle and Titian are two names which stand the highest in our art; one for drawing, the other for painting. The most considerable and the most

esteemed works of Raffaelle are the cartoons, and his fresco works in the Vatican; those, as we all know, are far from being minutely finished; his principal care and attention seems to have been fixed upon the adjustment of the whole, whether it was the general composition, or the composition of each individual figure; for every figure may be said to be a lesser whole, though in regard to the general work to which it belongs, it is but a part; the same may be said of the head, of the hands, and feet. Though he possessed this art of seeing and comprehending the whole, as far as form is concerned, he did not exert the same faculty in regard to the general effect, which is presented to the eye by colour, and light and shade. Of this the deficiency of his oil pictures, where this excellence is more expected than in fresco, is a sufficient proof.

It is to Titian we must turn our eyes to find excellence with regard to colour, and light and shade, in the highest degree. He was both the first and the greatest master of this art. By a few strokes he knew how to mark the general image and character of whatever object he attempted; and produced, by this alone, a truer representation than his master Giovanni Bellino, or any of his predecessors, who finished every hair. His great care was to express the general colour, to preserve the masses of light and shade, and to give by opposition the idea of that solidity which is inseparable from natural objects. When those are preserved, though