INSTRUCTIONS FOR THE CONNOISSEUR.

You call yourself a Connoisseur, and the first thing you gaze at, in considering works of art, is the workmanship, the delicacy of the pencilling, or the polish given by the chissel.——It was the idea however, its grandeur or meanness, its dignity, fitness, or unfitness, that ought first to have been examined: for industry and talents are independent of each other. A piece of painting or sculpture cannot, merely on account of its having been laboured, claim more merit than a book of the same sort. To work curiously, and with unnecessary refinements, is as little the mark of a great artist, as to write learnedly is that of a great author. An image anxiously finished, in every minute trifle, may be fitly compared to a treatise crammed with quotations of books, that perhaps were never read. Remember this, and you will not be amazed at the laurel leaves of Bernini’s Apollo and Daphne, nor at the net held by Adams’s statue of water at Potzdam: you will only be convinced that workmanship is not the standard which distinguishes the antique from the modern.

Be attentive to discover whether an artist had ideas of his own, or only copied those of others; whether he knew the chief aim of all art, Beauty, or blundered through the dirt of vulgar forms; whether he performed like a man, or played only like a child.

Books may be written, and works of art executed, at a very small expence of ideas. A painter may mechanically paint a Madonna, and please; and a professor, in the same manner, may write Metaphysics to the admiration of a thousand students. But would you know whether an artist deserves his name, let him invent, let him do the same thing repeatedly: for as one feature, may modify a mien, so, by changing the attitude of one limb, the artist may give a new hint towards a characteristic distinction of two figures, in other respects exactly the same, and prove himself a man. Plato, in Raphael’s Athenian school, but slightly moves his finger: yet he means enough, and infinitely more than all Zucchari’s meteors. For as it requires more ability to say much in a few words, than to do the contrary; and as good sense delights rather in things than shews, it follows, that one single figure may be the theatre of all an artist’s skill: though, by all that is stale and trivial! the bulk of painters would think it as tyrannical to be sometimes confined to two or three figures, in great only, as the ephemeral writers of this age would grin at the proposal of beginning the world with their own private stock, all public hobby-horses laid aside: for fine cloaths make the beau. ’Tis hence that most young artists,

choose rather to make their entrance with some perplexed composition, than with one figure strongly fancied and masterly executed. But let him, who, content to please the few, wants not to earn either bread or applause from a gaping mob, let him remember that the management of a “little” more or less really distinguishes artist from artist; that the truly sensible produces a multiplicity, as well as quickness and delicacy of feelings, whilst the dashing quack tickles only feeble senses and callous organs; that he may consequently be great in single figures, in, the smallest compositions, and new and various in repeating things the most trite. Here I speak out of the mouth of the ancients: this, their works teach: and both our writers and painters would come nearer them, did not the one busy themselves with their words only, the other with their proportions.

In the face of Apollo pride exerts itself chiefly in the chin and nether lip; anger in the nostrils; and contempt in the opening mouth; the graces inhabit the rest of his divine, head, and unruffled beauty, like the sun, streams athwart the passions. In Laocoon you see bodily pains, and indignation at undeserved sufferings, twist the nose, and paternal sympathy dim the eye-balls. Strokes like these are, as in Homer, a whole idea in one word; he only finds them who is able to understand them. Take it for certain, that the ancients aimed at expressing much in little,

whereas most moderns, like tradesmen in distress, hang out all their wares at once. Homer, by raising all the gods from their seats, on Apollo’s appearing amongst them[325], gives a sublimer idea than all the learning of Callimachus could furnish. If ever a prejudice may be of use, ’tis here; hope largely from the ancient works in approaching them, nor fear disappointments; but examine, peruse, with cool sedateness and silenced passions, lest your disturbed brain find Xenophon flat and Niobe insipid.

To original ideas, we oppose copied, not imitated ones. Copying we call the slavish crawling of the hand and eyes, after a certain model: whereas reasonable imitation just takes the hint, in order to work by itself. Domenichino, the painter of Tenderness, imitated the heads of the pretended Alexander at Florence, and of the Niobe at Rome[326]; but altered them like a master. On gems and coins you may find many a figure of Poussin’s: his Salomon is the Macedonian Jupiter: but whatever his imitation produced, differs from the first idea, as the blossoms of a transplanted tree differ from those that sprung in its native soil.

Another method of copying is, to compile a Madonna from Maratta; a S. Joseph from Barocci; other figures from other masters, and lump them together in order to make a whole. Many such altar-pieces you may find, even at Rome; and such a painter was the late celebrated Masucci of that city.——Copying I call, moreover, the following a certain form, without the least consciousness of one’s being a blockhead. Such was he who, by the command of a certain Prince, painted the nuptials of Psyche, or, if you will, the Queen of Sheba:—’twas a pity there was no other Psyche to be found, but that dangerous one of Raphael. Most of the late great statues of the saints, in St. Peter’s at Rome, are of the same stuff—the block at 500 Roman crowns from the quarry.

The second characteristic of works of art is Beauty. The highest object of meditation for man is man, and for the artist there is none above his own frame. ’Tis by moving your senses that he reaches your soul: and hence the analysis of the bodily system has no less difficulties for him, than that of the human mind for the philosopher. I do not mean the anatomy of the muscles, vessels, bones, and their different forms and situations; nor the relative measure of the whole to its parts, and vice versa: for the knife, exercise, and patience, may teach you all these. I mean the analysis of an attribute, essential to man, but fluctuating with his frame, allowed by all, misconstrued by many, known by few:—the analysis of beauty, which no definition can explain, to him whom heaven hath denied a soul for it. Beauty consists in the harmony of the various parts of an individual. This is the philosopher’s stone, which all artists must search for, though a few only find it: ’tis nonsense to him, who could not have formed the idea out of himself. The line which beauty describes is elliptical, both uniform and various: ’tis not to be described by a circle, and from every point changes its direction. All this is easily said; but to apply it—there is the rub. ’Tis not in the power of Algebra to determine which line, more or less elliptic, forms the divers parts of the system into beauty—but the ancients knew it; I attest their works, from the gods down to their vases. The human form allows of no circle, nor has any antique vase its profile semicircular.

After this, should any one desire me to assist him more sensibly in his inquiries concerning beauty, by setting down some rules (a hard task), I would take them from the antique models, and in want of these, from the most beautiful people I could meet with at the place where I lived. But to instruct, I would do it in the negative way; of which I shall give some instances, confining myself however to the face.

The form of real beauty has no abrupt or broken parts. The ancients made this principle the basis of their youthful profile; which is neither linear nor whimsical, though seldom to be met with in nature: the growth, at least, of climates more indulgent than ours. It consists in the soft coalescence of the brow with the nose. This uniting line so indispensably accompanies beauty, that a person wanting it may appear handsome full-faced; but mean, nay even ugly, when taken in profile. Bernini, that destroyer of art, despised this line, when legislator of taste, as not finding it in common nature, his only model; and therein was followed by all his school. From this same principle it necessarily follows, that neither chin nor cheeks, deep-marked with dimples, can be consistent with true beauty. Hence the face of the Medicean Venus is to be degraded from the first rank. Her face, I dare say, was taken from some celebrated fair one, contemporary with the artist. Two other Venuses, in the garden behind the Farnese, are manifestly portraits.

The form of real beauty has neither the projected parts obtuse, nor the vaulted ones sharp. The eye-bone is magnificently raised, the chin thoroughly vaulted. Thus the best ancients drew: though, when taste declined amongst them, and the arts were trampled on in modern times, these parts changed too: then the eye-bone became roundish and obtusely dull, and the chin mincingly pretty. Hence we may safely affirm, that what they call Antinous, in the Belvedere, whose eye-bone is rather obtuse, cannot be a work of the highest antiquity, any more than the Venus.

As these remarks are general, they likewise concern the features of the face, the form only. There is another charm, that gives expression and life to forms, which we call Grace; and we shall give some loose reflexions on it separately, leaving it to others to give us systems.

The figure of a man is as susceptible of beauty as that of a youth: but as a various one, not the various alone, is the Gordian knot, it follows, that a youthful figure, drawn at large, and in the highest possible degree of beauty, is, of all problems that can be proposed to the designer, the most difficult. Every one may convince himself of this: take the most beautiful face in modern painting, and it will go hard, but you shall know a still more beautiful one in nature.——I speak thus, after having considered the treasures of Rome and Florence.

If ever an artist was endowed with beauty, and deep innate feelings for it; if ever one was versed in the taste and spirit of the ancients, ’twas certainly Raphael: yet are his beauties inferior to the most beautiful nature. I know persons more beautiful than his unequalled Madonna, in the Palazzo Petti at Florence, or the Alcibiades in his academy. The Madonna in the Christmas-night of Corregio, (a piece justly celebrated for its chiar’-oscuro) is no sublime idea; still less so is that of Maratta at Dresden: Titian’s celebrated Venus[327] in the Tribuna at Florence is common nature. The little heads of Albano have an air of beauty; but it is a different thing to express beauty in little, and in great. To have the theory of navigation, and to guide a ship through the ocean, are two things. Poussin, who had studied antiquity more than his predecessors, knew perfectly well what his shoulders could bear, and never ventured into the great.

The Greeks alone seem to have thrown forth beauty, as a potter makes his pot. The heads on all the coins of their Free-states have forms above nature, which they owe to the line that forms their profile. Would it not be easy to hit that line? Yet have all the numismatic compilers deviated from it. Might not Raphael, who complained of the scarcity of beauty, might not he have recurred to the coins of Syracuse, as the best statues, Laocoon alone excepted, were not yet discovered?

Farther than those coins no mortal idea can go. I wish my reader an opportunity of seeing the beautiful head of a genius in the Villa Borghese, and those images of unparalleled beauty, Niobe and her daughters. On the western side of the Alps he must be contented with gems and pastes. Two of the most beautiful youthful heads are a Minerva of Aspasius, now at Vienna, and a young Hercules in the Museum of the late Baron Stosch, at Florence.

But let no man, who has not formed his taste upon antiquity, take it into his head to act the connoisseur of beauty: his ideas must be a parcel of whims. Of modern beauties I know none that could vie with the Greek female dancer of Mr. Mengs, big as life, painted in Crayons on wood, for the Marquis Croimare at Paris, or with his Apollo amidst the muses, in the Villa Albano, to whom that of Guido in the Aurora, compared, is but a mortal.

All the modern copies of ancient gems give us another proof of the decisive authority of beauty in criticisms on works of art. Natter has dared to copy that head of Minerva mentioned above, in the same size and smaller, but fell short. The nose is a hair too big, the chin too flat, and the mouth mean. And this is the case of modern imitators in general. What can we hope then of self-fancied beauties? Conclude not, however, from this, against the possibility of a perfect imitation of antique heads: ’tis enough to say, that it has not yet existed: ’twas probably the fault of the imitators themselves. Natter’s treatise on ancient gems is rather shallow; and what he wrought and wrote, even on that single branch of engraving, for which he was chiefly celebrated, has neither the strength nor the ease of genius.

To this consciousness of inferiority we owe the scarcity of modern supposititious gems and coins. Any man of taste may, upon comparison, distinguish even the best modern coin from the antique original.—I speak of the best antiques: for as to the lower Imperial coins, where the cheat was easier, the artists have been liberal enough. Padoano’s stamps, for copying antique coins, are in the Barberini Collection at Rome, and those of one Michel, a Frenchman, and false coiner in taste, at Florence, in that of the late Baron Stosch.

The third characteristic of works of art is Execution; or, the sketch being made, the method of finishing. And even here we commend good sense above industry. As in judging of styles, we distinguish the good writer by the clearness, fluency, and nervousness of his diction; so in works of art, we discover the master by the manly strength, freedom, and steadiness of his hand. The august contour, and easiness of mien, in the figures of Christ, St. Peter, and the other apostles, on the right side of the Transfiguration, speak the classic hand of Raphael, as strongly as the smooth, anxious nicety of some of Julio Romano’s figures, on the left, the more wavering one of the disciple.

Never admire either the marble’s radiant polish, or the picture’s glossy surface. For that the journeyman sweated; for this the painter vegetated only. Bernini’s Apollo is as polished as HE in the Belvedere; and there is much more labour hid in one of Trevisani’s Madonnas, than in that of Corregio. Whenever trusty arms and laborious industry prevail, we defy all the ancients. We are not their inferiors even in managing porphyry, though a mob of scriblers, with Clarencas in their rear-guard, deny it.

Nor (whatever Maffei thinks[328],) did the ancients know a peculiar method of giving a nicer polish to the figures of their concave gems (Intagli.) Our artists polish as nicely: but statues and gems may be detestable, for all their polish, as a face may be ugly, with the softest skin.

This however is not meant to blame a statue for its polish, as it is conducive to beauty: though Laocoon informs us, that the ancients knew the secret of finishing statues, merely with the chissel. Nor does the cleanness of the pencil, on a picture, want its merit: yet it ought to be distinguished from enamelled tints. A barked statue, and a bristly picture are alike absurd. Sketch with fire, and execute with phlegm. We blame workmanship only as it claims the first rank; as in the marbles à la Bernini, and the linnen of Scybold and Denner.

Friend, these instructions may be of use. For as the bulk of mankind amuse themselves with the shells of things only, your eye may be captivated by polish and glare, as they are the most obvious; to put you on your guard against which, is leading you the first step to true knowledge. For daily observation, during several years, in Italy, has taught me how lamentably most young travellers are duped by a set of blind leaders. To see them skip about in the temple of art and genius, all quite sober and cool, puts me in mind of a swarm of new-fledged grashoppers wantoning in the spring.