Note 43 — I.

(return) The observations of Mr. Phillips, (Lectures on the History and Principles of Painting,) on Giotto, and the earliest Italian school, apply in a great measure to the early German painters, and I cannot refuse myself the pleasure of quoting them.—"As it appears to me, that painting at the present time, is swerving among us from the true point of interest, tending to ornament, to the loss of truth and sentiment, I think I cannot do better than endeavour to restrain the encroachment of so insidious a foe, to prevent, if possible, our advance in so erroneous and fatal a course, by showing how strong is the influence of art where truth and simplicity prevail; and that, where no ornament is to be found—nay, where imperfections are numerous; where drawing is frequently defective, perspective violated, colouring employed without science, and chiaro-scuro rarely, if ever thought of. The natural question then is, what can excite so much interest in pictures, where so much is wanting to render them perfect? I answer, that which leads to the forgetfulness of the want of those interesting and desirable qualities in the pictures of Giotto, is the excitation caused by their fulness of feeling—well-directed, ardent, concentrated feeling! by which his mind was engaged in comprehending the points most worthy of display in the subject he undertook to represent, and led to the clearness and intelligence with which he has selected them; add to this the simplicity and ability with which he has displayed that feeling." * * * "This is the first true step in the natural system of the art, or of the application of it, and this was Giotto's more especially. The rest is useful, as it assists the influence of this, the indispensable. This, to continue the figure, taken from the stage, (in a previous part of the Lecture,) is as Garrick acting Macbeth or Lear in a tie-wig and a general's uniform of his day; the passion and the character reaching men's hearts, notwithstanding the absurd costume. If the art be found thus strong to attract the mind, to excite feeling and thought, and to engage the heart, by the mere force of unadorned truth in the important points, and without the aid of the valuable auxiliaries I have above alluded to, is it not manifest that in its basis it is correct? and that the utmost force of historical painting is to be sought by continual emendation of this system, maintaining the spirit of its simplicity, supplying its wants, calling in the aid of those auxiliaries within reasonable bounds, not permitting them to usurp the throne of taste and attraction, but rather requiring them to assist in humbler guise to maintain and strengthen the legitimate authority of feeling.