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seven discourses on art(艺术七讲座)-第11部分

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highest pretensions; as it is addressed to the noblest faculties; In those of 

another it is reduced to a mere matter of ornament; and the painter has but 

the humble province of furnishing our apartments with elegance。 

     This    exertion    of  mind;    which    is  the  only   circumstance      that  truly 

ennobles   our   art;   makes   the   great   distinction   between   the   Roman   and 

Venetian schools。       I have formerly observed that perfect form is produced 

by   leaving   out   particularities;   and   retaining   only   general   ideas。   I   shall 

now   endeavour   to   show   that   this   principle;   which   I   have   proved   to   be 

metaphysically   just;   extends   itself   to   every   part   of   the   art;   that   it   gives 

what is called the grand style to invention; to composition; to expression; 

and even to colouring and drapery。 

     Invention in painting does not imply the invention of the subject; for 

that is commonly supplied by the poet or historian。                 With respect to the 

choice; no subject can be proper that is not generally interesting。               It ought 

to   be   either   some   eminent   instance   of   heroic   action   or   heroic   suffering。 

There must be something either in the action or in the object in which men 

are universally concerned;  and which powerfully  strikes upon the  public 

sympathy。 

     Strictly speaking; indeed; no subject can be of universal; hardly can it 

be of general concern:         but there are events and characters so popularly 

known   in   those   countries   where   our   art   is   in   request;   that   they   may   be 

considered as sufficiently general for all our purposes。              Such are the great 

events of Greek and Roman fable and history; which early education and 

the   usual   course    of   reading   have   made    familiar   and   interesting    to  all 

Europe; without being degraded by the vulgarism of ordinary life in any 



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                                SEVEN DISCOURSES ON ART 



country。      Such;   too;   are   the   capital   subjects   of   Scripture   history;   which; 

besides their general notoriety; become venerable by their connection with 

our religion。 

     As it is required that the subject selected should be a general one; it is 

no less necessary that it should be kept unembarrassed with whatever may 

any way serve to divide the attention of the spectator。                  Whenever a story 

is   related;   every   man   forms   a   picture   in   his   mind   of   the   action   and   the 

expression      of   the  persons     employed。      The     power     of  representing     this 

mental picture in canvas is what we call invention in a painter。                   And as in 

the conception of this ideal picture the mind does not enter into the minute 

peculiarities of the dress; furniture; or scene of action; so when the painter 

comes      to  represent     it  he  contrives     those   little  necessary     concomitant 

circumstances in such a manner that they shall strike the spectator no more 

than they did himself in his first conception of the story。 

     I am very ready to allow that some circumstances of minuteness and 

particularity   frequently   tend   to   give   an   air   of   truth   to   a   piece;   and   to 

interest   the   spectator   in   an   extraordinary   manner。       Such   circumstances; 

therefore;   cannot   wholly   be   rejected;   but   if   there   be   anything   in   the   art 

which requires peculiar nicety of discernment; it is the disposition of these 

minute circumstantial parts which; according to the judgment employed in 

the choice; become so useful to truth or so injurious to grandeur。 

     However;       the   usual    and   most    dangerous      error   is  on   the   side   of 

minuteness;   and;   therefore;   I   think   caution   most   necessary   where   most 

have   failed。      The   general   idea   constitutes   real   excellence。   All   smaller 

things; however perfect in their way; are to be sacrificed without mercy to 

the   greater。    The   painter   will   not   inquire   what   things   may   be   admitted 

without much censure。           He will not think it enough to show that they may 

be there; he will show that they  must be there; that their absence would 

render his picture maimed and defective。 

     Thus; though to the principal group a second or third be added; and a 

second      and    third   mass    of   light;  care    must    be   yet   taken    that  these 

subordinate actions and lights; neither each in particular; nor all together; 

come into any degree of competition with the principal; they should make 

a part of that whole which would be imperfect without them。                         To every 



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                               SEVEN DISCOURSES ON ART 



part of painting this rule may be applied。 Even in portraits; the grace and; 

we may add; the likeness; consists more in taking the general air than in 

observing the effect similitude of every feature。 

     Thus   figures   must   have   a   ground   whereon   to   stand;   they   must   be 

clothed; there must be a background; there must be light and shadow; but 

none   of   these   ought   to   appear   to   have   taken   up   any   part   of   the   artist's 

attention。     They  should   be so   managed   as not   even to   catch   that   of the 

spectator。     We know well enough; when we analyse a piece; the difficulty 

and the subtlety with which an artist adjusts the background; drapery; and 

masses of light; we know that a considerable part of the grace and effect of 

his picture depends upon them; but this art is so much concealed; even to a 

judicious eye; that no remains of any of these subordinate parts occur to 

memory when the picture is not present。 

     The great end of the art is to strike the imagination。                The painter is; 

therefore; to make no ostentation of the means by which this is done; the 

spectator   is   only   to   feel   the   result   in   his   bosom。 An   inferior   artist   is 

unwilling that any part of his industry should be lost upon the spectator。 

He takes as much pains to discover; as the greater artist does to conceal; 

the    marks    of  his   subordinate     assiduity。    In   works     of  the  lower    kind 

everything appears studied and encumbered; it is all boastful art and open 

affectation。      The  ignorant often part   from such pictures with   wonder in 

their mouths; and indifference in their hearts。 

     But it is not enough in invention that the artist should restrain and keep 

under all the inferior parts of his subject; he must sometimes deviate from 

vulgar and strict historical truth in pursuing the grandeur of his design。 

     How much the great style exacts from its professors to conceive and 

represent their subjects in a poetical manner; not confined to mere matter 

of fact; may be   seen in the   cartoons of Raffaelle。             In   all the pictures in 

which   the   painter   has   represented   the   apostles;   he   has   drawn   them   with 

great nobleness; he has given them as much dignity as the human figure is 

capable   of   receiving   yet   we   are   expressly   told   in   Scripture   they   had   no 

such respectable appearance; and of St。 Paul in particular; we are told by 

himself;  that   his   bodily  presence   was   mean。        Alexander   is   said   to   have 

been of a low stature:         a painter ought not so to represent him。 Agesilaus 



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                                SEVEN DISCOURSES ON ART 



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 generall
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