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·THE
HAND-BOCK OF TASTE:
HOW TO OBSERVE WORKS OF ART,
SPECIALIY
CARTOONS, PICTURES, AND STATUES.
BY
FABIUS PICTOR.
LONDON:
PRINTED FOR
'LONGMAN, BROWN, GREEN, AND LONGMANS
PATRA_IOTER-ROW,
1849.

·NOTICT. то BOOKSELLERS, PROPRIETORS OF CIRCULATING SIRRARES, AND THE PUBLIC. THE Publiskers of this work give notice that it is Copyright, and that in case of infringement they will avail themselves of the l'rotection now granted by Parliament to Erzlish Literature. Any person having in his possession for sale or for hire a Foreign edition of an English Copyright is liable to a penalty, which the Publishers of this work intend to enforce. It is necessary also to iefurin the Public generally, that single Copies of such worhs imported by travellers for their offenranding are now prohibited. and the Customhouse officers in all our ports have strict orders to this effect. Thenve regulations ar: equally in force in our Dependencies and Colonial Possessions. i London, June, 1843. LONDON: Printed by A. SrottisWOODE, New-Strget-Square

·OI's
- 10 MARY
IXIT
PREFACE:
+
A PROPOSITION has been made to decorate the
New Ilouses of Parliament with productions of
British Art. The Parliament has assented, and
has appointed a committee for the purpose of
furthering the oliject pronosed. Nothing can be
fairer or better adapted for thut purpose han the
instructions issued by that committee. No test
can exhibit the capacities of an -tist su fairly
and truly as the production of a cartoon. * But
those cartoons arc, za is right, to be submitted to
public inspection in Westminster Hall; and it
the Public bę intelligent and capable of judging,
#
Acartoon means a chalk drawing upon paper. The word
is adopted from the Italian cartone, a large piece of paper.
A 2

·1 I'REFACE. they will exercise a most useful influence upon the decisions of that connmitten; for in the multitude of counsellors there is wisdom. · Iligh lincage and noble birth give wealth-but not intellectual richness. The poet's haplet aril the peer's coronet are runt of necessity idertical ; nor is good taste always prominent in those to whom the worlil's worldly fasow's are most frecly accorder. The minority, who do understand, may want the assistance of public opinion to make them a majority. Even foreign tasto, in all probibilitye better than our own upon sucl matters, may not regret that it is backed by an culightened. public opinion, it it should have to encounter ighwant pojtadine It is, then, for the instruktion of the Publie that this little worl: has been compiled. It does not contain the opinions, of one individual, but those of the best artists and best critics of all ages such as Da Vinci, Winkelmann, Mengs, Milizia, ·PREFACE. 5 Lessing, and Sir Joshua Reynolds. Much is translated from Milizia ; and it is believed that 1 Iere is no one maxim in the book for which authority may not be found in the writings of Sir Joshua — only his object was 10 teach the young student how to become a good artista mine to instruct the observer how to distinguislı one. Experience has shown tbat he did not ucceed.. Why not? Because the public taste was unable to appreciate works in the grand style, which he therefore himself deserted. It has not acvanced muclı from his time to our own. Partially perhaps it has receded, wł ile that of other ountries has advanced with giant step. Fngland, in her arts of design, is immeasurably behind what Italy has been, and, notwithstanding our unwil. lingness tu confess iź, wliat France aspires to, and Germany has accomplished. Lut is she incapable of progress? We shall see. 3

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·TIIE HIAND-BOOK OF TASTE. INTRODUCTION, 1. The earliest productions of innstatii art pretended to nothing but a certain degree of manual dexterity; and even this was at first so rude and imperfect, that the artist felt hingelf obliged to inscribe upon his work, the name of the object intended to be represented, in order to make it recoguisable. But, as be was his own commentator, 110 exertion was required of the observer, beyond the making use of his eyes, to enable him to judge of the reserublance, which was all that was aimed at. A. 4.

·9 TIAND-BOOK OF TASTE.. 2. When these imitations were sufficiently true and correct to speak for themselves without comment or inscription, a grcat step was gainelis yet, as the objects represented were single figures and simple subjects, the whole aim of the artist being still contined to the mere attempt of proalucing an exact copy of the original he imitated, every person was equally capable of appreciating their merits or defects, without any other assistance thau that which a correct eye naturally afforded. 3. in process of time men no longer content with the mere representation of wbut was constantly before their eyes; and the artist thca. took higher ground. llo began to embellish and improve upon the model which nature afforded him, by selecting only such subjects as were more perfect than the rest, correcting the faulty parts of Lis original, or substituting others from more chosen specimens. Still his appeal were ·TTIE STECTATOR. 9 was not to the understanding, but to the sight. If that received gratification, his object was gielned; and though something more would be required of the spectator to fit him for a judge, yet his eye would easily obtain the power of distinguishing defects from bratties by a little observation and practice. 4. But whon the arts attained their highest gracle of perfection when they required the greatest stretch of genius for their production when they lail, ils it were, all the sciences under contribution, by making cach contribute to their use, when they Atrove to depict •emotions, passions, and sentiments to portray vistit and vice, nobility and dignity, grace and clegon&t, truth and justice - when they became the records and chronicles of persons and events - when they resorted to the artifice of composition, chiaroscuro, and colouring, in order to enļance the effect they sought to produce — when, in short, ·10 HAND-BOOK OF TASTE. they were cmployed, as we propose to employ them, as a fitting decoration for the building whence shall emanate the laws of an.cmkre within whose limits the sun never scts,- it is clear that the artist. Jad a higher calling than the paperhanger' or uplolst-rer, and that an aim • so insignificant as that of were visual gratification could never be the real object of his attainment. 5. The right of any thing beautiful pleaner us; but that pleasure onght not to end there : it ought to procure us some positive benefit. Real pleasures are fertile in utility : those whicl: bear 9 fruit aro“ vain, silly, and receptious. What would an elegant architectural decoration be, if it merely served to please the eye without any ulterior purposr? – -an idle outlay of time and money. Nature has furlished us with wants, thence to provide us with pleasures ; to procure us, in short, by means of these wants, some great ·UTILITY 11 C and positive advantage. By the path of beauty she would lead us on to the temple of virtue. ,6 We ob rve that Nature embellishes certain objects in order to render them more desirable, and defor:ns others to make them less attractive. Why is the hemlock offensive to the smell, the scorpion loathsome to the sight? That we may not be enticed to taste the one, or touch 'the other. Why is beauty an attendant upon youth instead of age? Clearly for our good. Flowers blossom for thic fruits they bear. It is well to feel that what is most beautiful is best, and the most conducive to our interest i and to know that inau will never crr while he ruzues the same course which nature dues. Ilis art is intended as a source of gratification; but that gratification will be fallacious, unless it is veneficial; and it cannot be Leneficial unless it strives to render us wiser or better thai. we are, by attaching us to those objects which are the most ·12 IIAND-BOOK OF TASTE. beautiful, and, at the same time, the most pregnant witli utility. 7. Ile who first designated the arts of dedign by the name of fine arts (beaux urts) must have felt this truth, avd known than their spirit consisted in the union of brunty with uttrity, for the purpose of einbellisling all the common necessaries which administer to our (very-day wants. The first savage wlio, in building lis hut, know how to' kerp proportions aslapted to convenience and solidity, invented architecturc. The first sherherd who beautified tlic shape of liis flask, or «ut. out certain figures on liis staff, was the inventor of stulpture. Ani tie damsel who delineated tlug outlines of her lover's shadow with a piece of burnt stick upon the wall invented painting. 8. The essential duty of the fine arts, is, therefore', to place those objects which are subjected to the cases in such a light aş shall cause them to act upon us withi extraordinary energy. Ah ·11E OBJECT OF ART. 13 A painting does not deserve to pass for a picture ; a house is not a prošlurtion of architecture ; nor is a block of marble to be called a statue, unless the work of the artist possesses beauty of such description that it attracts and rivets our attention by mcans of the pleasure which it gi es Nor is this enough. That pleasure must be fruitful of utility and instruction. Without «such an object, the l'arnnssns would be nothing but vanity and seduction. By presenting us with specimens of perfectic, these arts ought to render us nuore perfect. By giving us good taste, choice, and order, they prepare us for an improved cxistence. or should bc, the eloquent records of real nuoral worth ; che charming guides which leal towards honour, glory, virtuc, hoy ennobling and beantifying all that is great and good ; whilst they make vice hideous, to make it the more de. testable. It was with this intent that Cicero They are, Us on ·14 HAMD)-BOOK OF TAS IE. a wished to present a beautiful image of Virtue to his son, in order that he might become cnamoured of her; for beauty is the mainspring of rcal mon interest; and it will therefore be the triuwph of art to.consecrate the enchantment of its graces to the two greatest blessings which can befall mankind - truth and virtue. T'luis is its final scope, this iis noblest attainment. 9. Iſence it "ollows, that painter who only knows how to colour, if lie colours well has made lumself master of a difficult craft, and deservar such praise as you would bestow pou a good workman; but be is not an artist. 10. ^ aiuter whò invents, composes, and colours subjects, which are pretty and pleasing enougll in theinselves, but produce no effect upon the mind, rior any result beyond the viſual gratification of the observer, merits undoubtedly the first rank' amongst decorators; but he is not an artist.

·EDUCATION. 15 11. But the painter who represents 'idens exalted, just, and noble, in such a manner as to transnrit them from the canvays into the brjasts of those who behold it, and to excise in them the cinotions, thoughts, affections, or antipathies with which he is himself inspired, leis an a tist, equal in all respects to the first of orators, poets, or luistorians. 12. If this be true, as trc it undoubtedly is, it will be readily concede that ihe vision, unaidai ly education or ot! cr intelloctual endow- Deuts, is no longer a sufficient guide to the .spertator, when be is called upon to examine the higliest productions of art. In 'ignorant or illiterate person cannot appreciate, because he cannot understand, the writings of Homer, Shaks, cure, or Milton. How, then, can be pretend to judge of works which contain not only the saine elements as the finest page of poctry, but some others peculiar to themselves ? All the .

·16 HAND-BOOK OF TAST. < 66 senses are improve and refined by education. We know that the blind acquire by practice a delicacy of touch which enables them to read with the fingers. An uncultivated ear knows certainly what music pleases itį but it cannot enjoy the highest efforts of musical composition. Even the Spalate is improved - Day, made sensible of gratifications previously unknown - by practice and experience. We frequently hcar people say they don't like French cooking.” Neither does the savage of North America. They deceive themselves. What they dislike is bad French cooking; it is the English imitation of it, or the. examples afforded by imperfect practitioners. But «no civilísed person can object to have his food presented to him inf.a form which captivates the eye, and entices the appetite, without loading the stomach, .13. The vision likewise must be taught to discriminate by study, practice, and observation.

·TASTE. 17 . If Raphael had been born and bred ip a country village, he could have had no conceptions of beauty or grandeur beyond what he saw in the rustic life around him. So the person whose knowledge of art is limited to what he has seen on the walls of the exhibition, finds himself, unable to appreciate all at once the perits of the works on the other side of the building. Real merit, whether artistic, or of whatever kind, is never obtrusive : its beauties lie" not upon the surface; they are not common, therefore not apparent to the common. Like pearls, you must dige to find them; nor can they be distinguished until you have learned to discern them. This learning is called Taste. TASTE. 1. It is pretended that taste is innate, and not to be acquired. Never was there a greater error.

·.18 HAND-BOOK OF TASTE. T'aste is a standardeformed by experience. Taste is knowledge. The organisation which constitutes the disposition of an individual is, no doubt, a gift of nature ; and that is bestowed in different degrees upon different persons. There are some whose" deficient -organisatión rendere them incapable of acquiring any sort of knowledge, and amongst others that knowledge which constitutes taste in art. But no man was ever born with an 'originality and maturity of judgment which would enable him to pronounce an 'accurate opinion upon the merits of any really great production of the pencil or chisel, without previous study. It is easy enough for a government to appoint'a committee of taste; but it cannot appoint taste to its committee. 2. Taste, then, is something to be acquired. To acquire it there is a necessity that you should have been endowed by nature with a sense of the Beautiful, and of its various gradations and ·INDIVIDUAL TASTE. 29 kinds. It is true that one man 'may be more partial to the pathetic, and another to the eheerful, and each of these individuals will designate the objects of his own peculiar predilection by the term beautiful. This difference of inclination arises from a difference ir the organs, individual character, age, sex, &c.; of that there can be no doubt. But there is a generally admitted taste amongst persons of well-regulated minds, and of sufficient experience and education, who for, the most part agree upon the grade of preference which should be assigned to all those things which can be submitted to rule and to the test, of common sense. And if a perfect uniformity of opinion cannot be obtained even on this point, it arises from the difference of passions, and the prejudices of habit. “ Take my eyes," said Argus, you will see as I do." " and B2 ·20 HAND-BOOK OF TASTY. . These rules, then, thus generally if not unit versally admitted, it is the object of these pages to enforce and explain. They make no pretensions to originality. If they did, their utility would be circumscribed; for they would then want authority—that authority which they possess in being the generally received opinions of all men of intelligence, both critics and artists. GENERAL PRINCIPLES. 1. The art of design seck to acquire an influencepver-the mind by the pleasure which they afford to the sight. Now pleasure is a moderate impression which objects produce upon our organs. If it be too strong, as in looking fixedly upon the sun, it pains us ; .if too weak, as the harmony of the spheres, -neger yet heated by any one, -it is ;

·HOICE OF SUBJEOTS. 21 not felt. Therefore subjects which give us pain, or thoşe which are too trivial or too, refined to affect us at all, should never be selected by the artist, unless the skill with which they ar treated can remedy the inherent defects of their nature. In the Pitti Palace at Florence there is a picture by Sebastian del Piombo, which represents the martyrdom of Saint Agatha. She stands uncovered in the front of the picture, while two men with red-hot pincers are engaged in tearing from the virgin bosom the tender source whence all mankind receive their earliest nourishment. No one can look upon that figure without feeling a cold sweat start-upon his brow. It produces horror, and not pleasure. An old painter of the 14th century, Spinello of Arezzi, represented Lucifer so frightfully ugly amongst the fallen angels, that he was baunted in his dreams by the monster of his own creation. The story says that he was so affected by the B'8 $ ·22 HAND-BOOK OF TAST. apparition as to los, his intellects, fall sick, and dię. This may be a fable; but it has its moral, - which is this, that art ought never to be abused. 2. Allegorical and metaphorical subjects, on the contrary, are unfit, because they are enigjaatical, because they possess little or no interest, and therefore cannot, and do not, come home to men's bosoms. It may answer to personify the physical or moral qualities in poetry, which has a language in which to explain itself ; but how can sculpture explain its meaning in the statue of a river, or a personification of Britannia or Rome i Sven painting, with all the additional resources it possesses beyond sculpture, is unable to do so. A woman of majestic beauty writing in a great book, supported on the shoulders of a mascular old man, armed with a scythe, and attended by a Janus on one side, and sea monsters blowing trumpets, and laden with rolls

·PERFECTION.
23
of parchment, on the other, means what?
Why, History, you are told: but women, and
especially pretty ones, are not much accustomed.
to write histories ; and if they do, they do not
keep such bad company as old men and Tritons.
In reality this picture, which is by Mengs, and
in the Vatican, is a fine production, yet no one
sincerely feels its effect in his heart. But every
one would have felt it on the instant, had it
been expressed by images more simple, clear,
and instructive.
d. A pleasure becomes more positive, that is,
it is increased, in proportion as the object®which
produces it is more perfect ; and an objent is
said to be perfect wher it is neither excessive 'nor
defective in any of those qualities which we
conceive it ought to contain, relatively to its
destination.
2. This perfection, in reference to the sense
B4
12

·24. HAND-BOOK OF TASTE. of secing or •of helyring, to sights or to 'sounds, constitutes what is called beauty. 3. Nature never presents us with any one individual uniformly beautiful; we always discover & something either superfluous or defective even in the most beautiful natural productions, and, in like manner, some point of beauty even in the most ill-favourad. 4. A perfect whole,"formed by selecting and combining the most beautiful parts from different models, is termod ideal beauty-beau ideal ; or, more accurately, is said to be an imitation of the beauties of nature, since no part of the selection is jmaginary, the whole being •faithfully.,copied froni nature. The flowers, the shrubs, the fruits of the field, when transplanted to your garden, and improyed by the art of cultivation, no longer present the same appearmade which they did when growing wild in their native spinnies, - yet Nature produced them all.

·BEAUTIFUL. 25 She it ig who affords' the magazine, ever.open and inexhaustible, from which the artist extracts the materials which are suitable to the object he has în view. Flis copy-book is the face of Nature, - her beauties form the object of his study; and hence the arts devoted to the imitation of those beauties are termed Fine Arts-- Beaux Arts; and their proúuctions, whether a Venus, & Satyr, an Apollo, a serpent, or a monster, are also termed beautiful, though some are hideous in themselves, when each of such productions contains neither more nor less than itº ought to contain consistently with the use for which it was created. 5. The artist who imitateď Nature precisely as she is, would fail entirely in his aim. A representation of what is constantly before our eyes is not worth so much trouble. A country lout, betraying in his attitude and countenance the very picture of rustic simplicity, while he ·26 HAND-BOOK OF TASTE. scratches his head to stimulate it for an answer to the plainest question, a servant girl down on her knees, with sleeves tucked up to the elbows, laboriously employed in scrubbing away at the floor of a room furnished with a couple of strawbottomed chairs, à deal table of which the legs appear to have a lien on the wall, a bandbox of blue paper, and a bed covered with a patchwork quilt, --are, no doubt, quite natural. · And when the artist has represented these objects so truly that you feel obliged to listen for the vacant reply,- that you seem to see the flush of perspiration on the housernaid's face, ---or fancy for the moment that the counterpane is really made of 'cotton print, -what have you gained ? Would you wish to live in constant antercourse with just such companions at your hearth? -to pee the room you occupy bedecked with such materials? Then why do you wish to have them, on your walls ? No; the real value of art does not ·SERVILE IMITATION. 27 consist ih portraying Nature just as she is; but as she might be ;min depicting that which is not of common but uncommon occurrence, which, in short, is never seen at one time, or united in one object. Hence those employed in reproducing images of mere nature are but cenyists; and however much manual labour they may bestow upon these copies of theirs, they certainly .do not merit any very great degree of praise. There are cases where they would be even censurable, and most so when the imitation was most perfect and most true. Who can endure the sight of monsters or tortures when so naturally represented as to appear real?. # the Laocoon inspired horror, it would immediately cease to be a producțion of the fine arts ; the effect of which, as has been said, must always be to excite emotions of pleasure, be the representation illustrative of what passion of quality it may, - joy, sorrow, majesty, grace, or hatred.

·28 HAND-BOOK OF TALE. PORTRAITS. 1. According to these principles, it would appear that the profession of portrait-painting is not entitled to rank amongst the fine arts. It is remarkable that the ancients have recorded only one portrait-paiåter, and that one a female, Lala of. Cyzicum. In truth, there is no grat merit in it if the purtrait be merely a likeness; and there would be a positive demerit if it sinnere against the simplicity of nature. Philip of Macedon, the fathor of Alexander the Great, had But one eye. An artist who painted his portrait furnished him with a pair of brilliant ones : he was disgraced as the author of an impụdent falselfood. The next painter drew him exactly as he was, with only one : he was roughly dismişsed for his ungrateful sincerity, for truth, impertinently told, like nakedness, savours of ·PORTRAITS. 29 indecency. A third, more skilful than the rest, took the king in profile : he was praised and rewarded. 2. A portrait, to be really good, should approximate as near as possjhle to the beau ideal ; and this may be accomplished by expressing whe "likeness of the individual, and maling, as it were, his eulogy in the coudtenance, while every other part of the picture, the accessories, background, effects of light, &c., aro- composed from beautiful nature. 3. It must possess character and expression; for every living countenance is influenced by some passion, or affection, or character. A Jountenance without expression is without life. 4. The position chosen must not be capricions, cor sxed by the artist like an academy model ; for every individual has a carriage and attitudes peculiar to himself; and when placed in a position which is not natural to him he . 6 ·30 HAND-BOOK OF TASTE. feels constrained, looks awkward, and, in fact, caricatures himself. 5. A smile embellishes the countenance, and gives life, grace, vivacity, and sensibility. But what incongruity if the eyes look serious while the mouth is gay! 6. Gaudy apparel and gorgeous ornaments play show the artist's dexterity; but they withdraw attention from the object which wears - them, without adding to its beauty : and if out of character, they cheat the beholder. Two countrymen, passing up the Corso at Rome, 'stopped to examine à collection of pictures, hung out, as is the cutton there, upon a wall for sale. Their attention was chiefly fixed by a blazing portrait bedecked with all the colours of the rainbow. After regarding it in silence for some minutes, one said to the other, Che skrito è ? “What saint is it?" His companion replied, 6 What saint! Don't you see how-bravely he's dressed? To be

·AKCESSIVE ORNAMENT.
31
sure, thên, he's one of the Saints of our day,
that ride in coaches with four horses, attended
by lackeys in fine liveries." When the portrait
of the Prince Regent, painted by Sir Thomas
Lawrence, was first placed in the Vatican, some
simple persons fell down upon their knees to pay
.before it. They took him for a saint., A young
and beautiful lady asked of her friend the loan of
her jewels for, some grand entertainment. Her
mesgenger received the following reply: “Tell
your mistress, if she will send me her lovely
face, I shall be able to do without my precious
trinkets."
7. Portraits in masquerade, as nymphs, Shepa
herdesses, goddesses, Greek warriors, or Roman
orators, are false postraits, which belie, the
character instead of bearing it. Fancy the little
corporal at Waterloo in Greek Armour, with a
long spear that cast eight, feet of shadow on the
ground; or.Wellington stark naked, as Castor,

·32 ; HAND-BOOK OF TASJE. the 'pugilist, and horse-jockey, but with the additional absurdity of a pot-lid in one hand, and a poniard in the other. Even the nurserymaids blush for shame when they think of it. 8. A portrait, therefore, 'cannot be good undess it gives'a faithful representation of its original. But it may do more; and must, if it be entitled to rank umongst the productions of the fine arts. There stands Garrick * between, Tragedy and Comedy, like Hercules between Vice and Virtue: the likeness faithful; the figure, we will presume, drawn in one of the happiest of his attitudes; the countenance full of rcal, and beautifal expression, - half serious, half gay, as unwilling to give exclusive preference to either charmer, both of whomo he loved so well, and each of whom had assisted alternately, in procuring him his greatest triumphs. Such a portrait C * By Sir Joshua Reynolds..

·DELUBION. 33 is not a mere likeness ; it is biography: it paints a life. . 1 1. It is an error to suppose that delusion, or, in other words, deception, that is, the cheating us into a belief that the images, represented are realities,- forms an object of the fine -arts. Ile who invented and fostered such an idea was deluded and deceived himself. Their productions ought to be immediately re-' cognisable as representations, not of ordinary, but beautiful nature. They have no need of delusion. All they seek is to resemble truth and nature When Shylock or Othello is made to talk in the sublimest strains of poetry, it is not for the purpose of porsuading you that such is the real language of Jews and Moors. When an accomplished actor personates Lear or Richard with the most eloquent gesticulation, studied attitudes, yaried intopation of voice, and artful c.

·34 HAND-BOOK OF TASI... arrangements of the countenance, you never imagine that kings and princes really so act and speak. In like manner, no sculptor ever sought to persuade you that the marble he had fashioned was a living sentient being of 'flesh and blood. All she wants is not to destroy that'tacit convention which exists between yourself and him that his statue represents the objects he wishes, though what you look upon is only marble or 'bronze ; and he succeeds in this end when 'he attributes to Nature sych properties as are con- “formable to our notions of her laws and established forms. But no 'compact can exist unless both the contracting parties read it in the same sense. They. must clearly understand each other. It is therefore necessary that the taste of the observer should be on & par with that of the artist, if it lags behind, the artist must degrade his works to suit the capacity he addresses, and then adieu improvement; if it should cutstrip him, he can-

·MUTUAL INTELLIGENCE.
* 35
not give satisfaction until he has raised himself
to a level with the intelligence of his critics,
'and that effort produces great works and great
masters.
2. If both parties are equally intelligent, and
thoroughly understand each other, they will
agree that in every production of the fine arts,
and in every part of each production, the
beauties of nature are to predominate in the
forms, proportions, colouring, accessories, such
as drapery, utensils, ai chitecture, backgrounds
of scenery, &c.; and in the final scop: of all
these, the expression. The-labour of the artist
is like that of the jeweller, who polishes and
sets the gems, which without his aid would only
be costly masses of deformity. Horace sets jewels
with the pen ; Phidias with the chisel; Apelles
and Raphael with the pencil.
c2

·36
HAND-BOOK OF TASTE.
BEAUTY.
1. Beauty consigts' in form and colour, but
principally the former je because all its higher
attributes, such as grace, dignity, expression,
depend more upon a combination of forms than
of colour,
may, indeed, exist without it; in.
sculpturc, for instance.
2. Forms vary not only according to the
different qualities of objects, but also according
to the different circumstances in wh oh the same
object may be placed. Thus the forms of Apoßo
can pever be those of Hercules ; nor ought they
to be the same in Hercules the mortal, as in .
TIercules the deity. Moreover, of whatever
description they may be, they should never be
ordinary, but always select.
3. The human body, when neither mutilated
nor deformed, exhibits on its surface siš hundred

·FORM. 37 and sixty-six parts, including veins, muscles, tendons, nails, and bones. Every one of these • parts varies in some respect or other in every individual, just as every leaf on a tree varies in, some point from every other. Each of these parts is, therefore, possessed of a form more r less approaching to, or receding from, the standard of beauty. He who lias the greatest namber of them in most perfection, possesses the greatest natural beauty of form. A statue, on the contrary, composed by selecting from individual nature the choicest example of each one of these six hundred and sixty-six parts, and com, bining them into a single figure, pojadoes ideal beauty of form in the most perfect degree. It must, then, be impossible for, the sculptor to make even an approximation to this perfection, without a thorough knowledge of external anatomy; nor can the vbserver appreciate the merits.cf his works without somewhat of a r 16 C 3 ·38 HAND-BOOK OF TASTA. similar• knowledge, ør, at least, unless His eye is accustomed to the simple beauty of forms by observation and practice. He cannot even discern them. Are you incredulous? Then make the experiment. Go and look 'at the Venus, Apollo, or' Apollino. Your eye, if unpractised, will distinguish, nothing but the most prominent parts. Close the shutters į move a single light round the figure, and you will see that its entirc surface is diversified by a thousand delicate undulations, producing light, shadows, ánd half tint, each circumscribing and defining some different form which conftitures, a component part of the whole. If at the same time an intelligent friend or artist -- not a pretender, but. one who really knows -explains to you what each of these forms represents, tells you their anatomical name, shows you wherein their beauty of contour consists by comparing them with the same parts in ordinary nature, ·ANATOMY 39 . you will then begin to understand why the sculptor's art is prized so highly; what are the difficulties he has to surmount; and why it is, and with what truth, that the Greek artists are universally allowed to have excelled all other nations. 4. The painter's case is somewhat different. · He can resort to colour as well as form for his effect, and has besides a n'imber of other resources, from which the sculptor is excluded. He, therefore, rarely repr^sents the naked figure; never of nequisity, for he can gain his end without it. Historical subjects are more naturally depicted, more consonant with our ideas and customs, when the figures are appropriately dressed. Raphael, you will say, seldom painted nuditius; all his greatest works are in costume. Most true. But if Raphael had been unable to draw the naked figure like a master, could he have succeeded as he has done in & draped c 4.

·40. HAND-BOOK OF TABTE. one ? . Besides, there are subjects which require the exposure of certain parts of the body, as the torso, legs, arms, and those stumbling-blocks to bad draughtsmen, the extremities, hands and feet: the last perfected after the revival of art, because the most difficult.' How can they be Well expressed unless the easier have been first mastered? 5. The painter, then,, must also have a sufficient knowledge of anatomy ; but that knowledge is not to be ostentatiously displayed. He must remember, and the public wit' him, that it is only a nteans which conduces to an end ; that he does not paint to instruct the students of an hospital; not for one, but every class of his fellowcreatures. 6. Connected with form, the beauty of mafi, the most beautiful object in creation, consists in the external manifestation of his best qualities: his health, which shows itself in the complexion, ·VARIETY and in the form of his members, prefticularly the countenance; his strength, which announcer itself by the developement of the muscles, the frame of the chest, the breadth of shoulders, and agility of the legs; his temperament, which is recognised by his bearing, by the composure of ' his attitudes, and the propriety of his gestures ;" in the tranquillity of his brow; and in his íñtelligence, which declares itself -t the eyes 7. All these properties are more 'delicate and more gentlo in the formale sex; which, in addition, possesses a certain charm in the mouth and glance, and, more than all these, that modesty, the very essence of sweetness, which is always so pleasing, even when least expected. 8. In beautiful nature there exists a continual variety; nothing is crer repeated in the same individual ; but the whole figure is composed of the concave, convex, or abrup, arranged in such a manner as w.produce cutlines variously undulated. ;

·42 RAND-BOOK OF TASTE. c 1 . There is no angle without a curve, and no curve without interruption or inflexion ; that is to say, all is serpentine, like the flame, or the waves of the sea ; so that a contave form is never opposed to a similar one, nor a copvex to another convexity, and there is no line on the same side of the same proportions and character as that which is opposed to it on the other. Convexities give size : concavities lightness; and straight lines nobility.' In short, there is a continued variety in all the contours, and ine all the proportions; and w bawer seeks to attain grace without these varieties falls into coldness and mannerism. - MANNERISM. 1. Manner is that peculiurity of thought and execution which distinguishes one artist from another. It is this which enables you, without the aid of a catalogue, when you enter the ·MANNER. 43 . Exhibitioh to say at once, that is by Prout, that by Hunt, 'that by Turner, that by Etty, and so on. Now this manner, however perfect it may he according to our own notions of perfection, is yet always defective to a certain extent, because it is not an exact representation of beauti,ul nature, but the artist's modification of her: hence it follows that the more you have of the indiwidual artist in his works, the less you have of nature; she recedes exactly in the same proportion as he becomes prominent. When a certain person said to Rivarol, “ Je vous dirai ma manière de penser," he replied, " Lites-moi la pensée, mais sans manière." 2. The less this manner is apparent, the more perfect will be the work. When excessive, it is called mannerism, as a term 3f reproach. If an artist is not endowed with a ready and copious invention, he beconues mannered; because he is always repeating the same things - ·44 NAND-BOOK OF TASTE. and ideas, while pature is infinite in her varicties and modifications. If his invention is not restrained by taste and judgment, he exaggerates and caricatures nature; and that is mannerism. If his mind is incapable of conceiving great and lofty ideas, he is apt to degrade and impoverish nature, - that also is mannerism. In shori, every impropriety of form, expression, colouring, &c., whether, it arises from excess or defect, is mannerism. 3. There is another kind of mannerism which produces the most lamentable results. When a pupile iinitates the manner of his master, insteark of nature, he imitates a defect: instead of following the genuine model, he follows an impaired copy at secofid-hand. Who would give the best description of a battle ? - one who had been present in the action, or one who had received his account from the narrative of another? If on the manner of his master he + ·MANNERISM. 45 adds or engrafts his own peculiar one, there is defect upon defect, or nature at third-hand; that must be mannerism. 4. This practice, without donbt, contributed inaterially to the decline of art in Italy, and militates much against its resurrection. It explains also why it is that the arts rarely flourish for long periods at a time. Pre-eminence is only gained by long and arc'uous study. As soon as a nation becomes possessed of a multitude of great works, the young artist, finding what he conceives a perfect model prepared to his ha......, or perfect as far as human genius is supposed able to make it so, thinks that he may escape the preliminary toil and drudgery which the individual who produced it was compelled to undergo. He becomes an imperfect imitator. But hundreds are soon found able to imitato this model as well as himself, for to do so it only requires a certain degree of mechanical skill.

·46
HAND-BOOK OF TASTE.
He must strike out something new, to catch the
public and distinguish himself. Being deficient
in real power, he has recourse to extravagance.
For a time the povelty pleases, --- the public run
mad, and taste is corrupted. This palls at length,
and there is a talk of going back to the early
practice; but that practice has been neglected so
long that its principles are lost: to acquire it,
you must begin again from the fountain-head:
This does not pay'; so the artist restores the
ancient practice by becoming a mere copyist.
galleries of Italy are filled with persons
engaged in copying the works of the great
masters. But such a custom can never even
make a good copyist ;- for the defects of accident,
and the blemishes of time, damp, and neglect, are
more easily 'imitated than the bestuties of the
original.
6. Fortunately for us in this country, we have
never had a school, at least not any worthy of

·NATIVE SCHOOL. 47 the name : we have therefore nothing to unlearn, but every thing to learn ; and necessity is the mother of invention. It is this which encourages reflecting men to hope that our turn will come, and that we may be able to decorate the council chamber of the nation with po-. ductions of British art, in a manner which shall not be unworthy of ths building it is proposed to adorn, or of the nation which is inclined to sanction the undertaking. It is thought that the country which has numbered amongst her sons poets, orators, historians, of the very first class could produce artists of a corresponding merit, if only an opportunity were af.deu for the display of their talents. That opporturity the country has afforded; it remains for them to prove thet they are equal to it. Much depends upon beginning at the right end; but those who are determined to deserve success will most probably command it.

·HAND-BOOK OF TASTE. GREEK IDEA OF BEAUTY. 1. The most perfect specimens of beauty, both in form and feature, are preserved to us in the works of the Greek sculptors: they were produced by adhering to general principles, establisherl after a long course of obaervation and practice, which, when once adınitted, were universally adopted. They embody, therefore, not the manner of any, particular artist, but the practice of a school. It is of consequence to know what that practice was ; not for the purpose of toe vile imitation, but as a guide to be (ongulted. 2. The profile of the best Greek busts or statues is formed by a line almost straight, chut slightly curved in the direction of the nose and forehead. The deeper the indentation which separates the pose from the forehead, the less 0 ·PROFILE. EYEBROWS. HAIR. 49 . pleasing is the profile : take the busts of Plato and Socrates as an instance. 3. The beauty of the eyebrows consists in the fineness and delicacy of the streak of hair: the thinner the line, and the gentler its curvature, the greater will be the calmness which the -eye announces. The ancients, when they wishen to express dark hair in sulpture, and conse- .quently austerity, gave a certain cutting sharpness to the cyebrows, as in their Jupiters, Plutos, &c. In the deities characterised by light hair,,, such as Venus, Ganymede, Apollo, the eyebrows have no aprcarance of this sharpness of cut. 4. The hair in ancient sculpture in generally curly, except, of course, in portraits. In female heads, and especially tnose of young girls, it is drawn back, and fastened in a simple knot at the top of the head; but wavy and undulated, to produce a play of light and shade, and so demonstrate its abundance. D ·50 HAND-BOOK OF TASTE. 5. A squared nose, that is not sharp, but full and broad in the bridge, is suitable to an open and serene brow, 6. A moderate fulness in the cheeks has the effect of dividing the forehead into more parts for the display of a greater, volume of anuscle. 7. The forehead is of very moderate height, such as would be called low by us, but in exact. proportion with the other divisions of the face. This is entirely at variance with dur notions, but not so with nature ; for the forehead is lowest in the flower of youth, and grows higher and higher in appearanbe as we advance in years; so that a high and bare forehead is the . attribute of age, but not of youth and beauty. The hair, tqo, takes a circular form round the temples, so as to form # perfect oval with the rest of the countenance; and not with two reentering angles of bare skin at each side, which ·LIPS. EARS. EYEB. · 51 lines disturb the harmony and destroy the regularity of the concave ones below. 8. The lower lip is rather fuller than the upper, in order to lead on more gracefully to the chin, the beauty of which consists in its rotundity, and not in the dimple, which iw but an accident in that as well as in the cheeks. 9. The ancients gave & laughing air only to their Satyrs, for the purpose of expressing dissoluteness, intemperance, grossness, and folly. 10. They were scrupulous even in the different forms of the ear, which was shaped to a nirety. 11. Fine eyes were somewhat dort tailed in length amongst them, than in the works of the best Itarian artists ; but they were lerge in size and shape, and exact in their en. Casements. The surrounding bones were not large nor prominent, in order not to broaden the face nor render it triangular. cur- D 2

·52
HAND-BOOK OF TASTE.
12. · In the male figure a chest superbly
arched was esteemed a beauty. In the female it
was narrower, with a gentle swell, and small
but rather pointed breasts; and therefore their
young girls used to sprinkle a certain powder of
marbre from the island of Naxos over the bosom
to prevent its enlargement.
13. The beauty of a youthful hand amongst
the Greeks consisted of a moderate fulness, with
'marks scarcely visible, like gentle shades, in the
joints of the fingers. The fingers well tapered ;
and when they wished to form dimples in a full
fleshy hand, they did not indicate the juncture,
nor did the curve the last joint as the moderns
do.
14. Their legs were fleshy, the shin bone
and cartilages, being scarcely visible; po that
the knee inakes a gentle and uniform swell from
the thigh to the leg, not interrupted by ups and
downs: this was their constant practice.

·FEET. MUSCLES. ATTITUDE. 53 are 15. They did not compress the feet as we do, perhaps through the abuse of tight skoen. The less contracted the foot, the more beautiful is its form. Their nails, also, were made broader and flatter than ours. 16. The muscles never exaggerated ; they are always the most beautiful, and the best adapted to the subject, and to the simplicity of their forms and attitudes. The more of inotion or contortion which is given to the traits or muscles, the more is the nobility of the figure degraded. A great man gesticulates little, and distorts himself still less. A single trait indicates his passions; but the exertivas which he makes to restrain them, or regulate thera according to the dictates of prudence, decorum, or justice, is at the same time seen struggling within him, 17. The attitudes of the gods are in conformity with their exalted dignity. There have D 3 ·54 HAND-BOOK OF TASTE. only been discovered two Greek divinities with their legs crossed, or their feet in an undignified position; and who knows why they were so represented ? PROPORTIONS 1. Proportions onsist in the different di. mensions of objects, compared with one another; or otherwisc, in the accordance and suitableness of the parts in any one object, pompared with themselves and with the whole. But the proportions of the fine arts are not those of geometry. They' are not to be reduced to the measure of one given standard. They vary infinitely, not only in different objects, but also in objects of the same class; and those varieties arc regulated solely by their suitableness to the expression and character which it is intended to portray.

·PROPORTIONS.
55
2. The first variation in whe proportions of
the human body is not an exact division of those
belonging to the age which succeeds. Aboy is
not a little man ; for so he would be a dwarf,
and not a boy. This is the defect in the children
of Laocoon.
3. Again, the female sex has proportions of
its own, as its furms are likev.ise different :
lower stature, longer neck, chest narrower,
shorter thighs, longer hips, smailer feet, and
muscles iess prominent; hence contours less
decided, and motions more easy. All these vary
according to their various conditions of girlhood
youth, maturity, or old age.
DESIGN.
Design is the art of giving to each object its
true measure and proportions, and of enclosing
D4

·56' HAND-BOOK OF TASTE. an C . the different forms by varied outlines, in order to determine the attitudes and expression of any kind of figure under any circumstances ; immense study, since nature is infinitely diversified. To preserve in each figure an exact appearance of proportion in every variety of position, distance, and foreshortening; to vary these proportions according to the character of the objects; to maintain an equilibrium in every kind of situation or movement; to give preponderance where necessary, and finite 'motion to bodies no longer animated; to diversify the attitudes, and still preserve them always natural ; . to create contrast and opposition in the positions, the air of the heads and deportment, yet without constraint; to outline with spirit and freedom ; to express much by a few strokes, yet without dryness or harshness, Day, with grace and elogance, so that the flesh may appear soft and succulent, but of every consistency, from the pleasing t ·DESIGN. GRACE. 57 delicacy of youth down to the venerable and rougher appearance of age — from the feminine elasticity of Venus to the muscular fibre of Hercules, and even onward to the divinity of Apollo; all this is design, and all this is but a means. GRACE. Grace is nothing more than beauty itself ; only more delicate, more sweat, more captivating. Hesiod says that Minerva sprung from the brair of Jupiter, che Graces from his heart. It arises from ease, flexibility, variety of movement, and a natural and easy passage from one motion to another. What a grace there is in children, resulting from their notions, - simple, frank, and agile! Their ingenuousness, cheerful humour, innocent curiosity, dislikes, complaints -- even their very tzars are susceptible of grace. » ·58 HAND-BOOK OF TASTE. ELEGANCE. A union of all the graces produces elegance. This supposes, on the one hand, exactness, pureness, and regularity; while, on the other, it demands freedom, frankness, and dignity; --- all expressed with an 'air sufficiently natural to conccal the study and artifice of the artist, without transgrossing the rules of correctness. A difficult combination ; yet it is still more difficult to represent grand subjects with eleganee, or simple ones without becoming trivial. DRATERY. 1. Man's chief beauty, is in himself, and not in his habiliments. They are only accessories, which serve him for use or ornament. But the ·DRAPERY. 59 climate and habits of European nations no longer permit the person to be exposed; therefore the able artist will take care to dispose the drapery round his figures in a manner which indicates their principal lineamente, instead of lumping them on like a heap of clothes in a buck-basket, whilst he preserves the costume of the period in which his actors are supposed to live, and adapts tirem with propriety to the respective characters they are intended to repi esent. George the Third in the dress of a Rowan consul, is quite as absurd as Achilles or Romulus in a frock-coate and top-boots. 2. The ancients, who were accustomed to see the naked figure in their public games, and the body considerably exposed even in domestic life, had none of those feelings of delicacy wbich influence us; their drepery therefore was commonly managed so as to conceal as little as possible the forms. beneath it. For this purpose ·60 HAND-BOOK OF TASTE. . it was generally wetted whert placed upon the model, and is so represented in most of their statues as well as pictures. The effect thus 'produced is excellent.when the fobes are not too scanty. It shows better the principal parts of the body, and creates less confusion and more expression. If conducted with dryness or poverty, the longitudinal plaits will appear like so many cords, or like the, flutings of a column. Moreover, the spaces between the plaits ought not to be all equal, nør the folds of the same quality. Their edges as well as interstices ought to be harmoniously varied; and the surface of each fold should never be so disposed as to produce an acute angle of light and shade: such a disposition destroys all repose. The examples of ancient drapery not wetted are very few. 3. The drapery assists materially in producing variety, not only in colouring, but in the ·STYLE. 61 • forms and lineaments, by a judicigus distribution of the folds and pl4its. The artist evinces his power when he has the skill to adjust them round the limbs with ease and simplicity, and yet preserve a character of lightness and grace. The dress, moreover, by its agitation, in of great service in helping to express the agitation produced by violent motion, STYLE 1. Style has reference to the forms, proportions, and drapery; and 'is distinguished into three sõrts, — the grand, the middle, and the little. 2. Every thing whatever is composed of parts; and these parts are again composed of smaller ones, and cach of these smaller ones contains others still smaller than itself, and so ·62 HAND-BOOK OF TASTE. on ad infinitum.' The face, for example, is composed of forehead, eyes, nose, and chin; these are the principal parts necessary to the formation of a face. Each of these is composed of smaller parts, certain bones, muscles, fibres, &c.;, and each of these again of parts still more minute. Whoever should attempt to represent microscopically the pores and down of the skin, as some of the Dutch painters have done, would produce nothing but littleness; and every littleness displeases. It is a grand style which shows monly the great and necessarily component parts of any object. That which is grand pleases us; it does not weary, 'and appears to exalt us ; hence it ought to be studied in every part of a composition, inasmuch as the virtue of art consists in producing the greatest possible effect with the least possible work. This is an excellent maxim, of clear and universal importance; but too often neglected, not only in matters which ;

·GRAND STYLE.
63
relate to our mere personal gratification, but
also in those which are of higher import, such
4,8 medicine, jurisprudence, legislation, In
the same manner as our artists forage every
province of the arts, and crowd the mingled
products into a single work,' and so produce
a chef-d'oeuvre of absurdity, so our doctors
string systems of remedies together, and reduce
us to corpses ; our law.yers give us perpetual
mution, and reduce us to mendicity and our
legislators complicate the machinery of their
laws, in order that we may never know what
the law.is..
3. All this selection of forms, proportions,
attitudes, drapery, style, or whatever else, is
merely a means tending to produce expression.

·64 HAND-ROOK OF TASTE, • EXPRESSION. + . 1. Expression is in general the art of representitag any object agreeably to its nature, and to the situation in which it is placed. Rocks, water, plants, animals, have their expression, and are said to be wel expressed when their respective properties and constituent qualitics are: well represented. But in particular the expression of man, the object of most consequence to us men, is, the art of repetenting with propriety his internal. feelings by some sort of external indication Our machine is so constructed that it takes different appearances, and makes, as wit were a change of soeng-sith every impulse or variety of fécling, agreeable or otherwise. If it big thing artistë důty to know, how to express these ·GESTURE.. 65 . changės, it'is equally incumbeut on the speetutør that he should know how to distinguish them. . 3. The lead, for instance, which is the präcipal inember" affected by the play of the passiopisy: bends forward in humility, shame, ånd sorrow leans on one side in pity and larguars raises itself in arrogance, and fixes itself fem right in obstinacy; makde á back yard motion in surporise; and, reiterates - a rapid succession. of movements in disdain, 'derişión, anger; and indignation. 4. In like manner all the wenibers of the body have their language : attitude and gesture supply the place of words, and give forct to them. Agamemnon was miesent at the sacrifice of his daughter; but the wtist, unable to pořs. tray the father's feelings 'on Lis countedance, represented himn with his back turned áway from the altar, and with his head veiled last Feature tyde says more than a thousand words.

·66 HAND-BOOK OF TASTE. 5. Beauty of form is compatible with the most violent passion, the most intense expression. Seek an example in the Niobe, which will prova to you that it is not necessary to distort the features in order to render them expressive. Pure taste knows how to distinguish the accessory from the principal parts; and by the indication of accessories the most forcible expression may be bodied forth. There is the Laocoon ! In this work we see the schblance of a man in years, but of undiminished trength, convulsed by the poison of the serpents, which are wreathed around and biting him. The spasın shoots ihrough his whole body, even to the feet. Yet this is not all the pain he suffers: he partakes that of the two boys by his side, evidently his own children, and who look up to him for assistance. All nig efforts, great as they are, to alleviate their pangs, prove fruitless ;- he gives himself up to an impulse of anger and mental agony. Convex lines;

·THE LAOCOON. 67 meeting with straight and concave ones, predominate in his figure, for the purpose of representing agitation; which is still more strongly expressed by the angular forms adopted, as well at the points where the muscles rise out of, as where they sink into the flesh, so as to render the violent tension of the nerves and tendons more evident. In this sublime agony, he still freserves so much dignity in his countenance, his body, and his actions, that, however horrible his endurance, he betray: no one act which is unseemly or unbecoming ; so that he appears being of high and exalted rank, who knows how such a person ought to suffer. He seems as if striving to concentrate round his heart all the force of mental energy, against the tortures which swell Lis muscles and contract wis nerves 80 awfully. His breast scarcely heaves, his belly is drawn in, and his sides hoilowed, -all exhibits an expression of contraction, suffocation, ex- E ?'

·68 HAND-BOOK OF TASTE. cessive torture, and uncommon magnanimity. The pain of the children, though of a different description, is bodied forth with great truth and feeling. It is a pain merely plysical, and appropriate to their respective ages. 6. Every person must feel the energy of such expressiveness; but the scholar, the inan of taste and education, feels 'It morc. He sees before him the Laocoon of Virgil, the royal brother of Anchiscs, the priest of Apollo and of Neptune. Virgil makes him howe, and even roar like a bull sacrificed at the altar. But the mouth of this Laocoon is not wide open; it appears as if giving utterance a deep-drawn sigh. The sculptor, then, was more of a pkilosopher than the poet. It seems as if Socrates had guided the hand which gave sto noble an expression to mortal suffering. 7. The grandeur hore is external, but like the sea, which, though convulsed by the wildest hur- 1 ·SUBLIME. CHARACTER. 69 . ricanes, preserves calmness in its depth, and is only agitated on its surface. A person of royal lineage and sacerdotal office ought to know how to bear the greatest afflictions with becoming dignity: hence the action of Laocoon is one of repose, which degenerates neither into indifference nor apathy. If he were all in contortica, disfiguring himself, and raring or noaring aloud, the expression would be natural; but ignoble, and not of exalted nature. Here it has reached the sublime ; and who is there who would not wish himself able to endure as this Laocoon endures ? All that raises us above ourselves, and gives us an energy of which we were not preriously sensibie, is sublime. CHARACTER. 1. Every subject which is well expressed is said to be well characterised. Character results E 3 ·70' HAND-BOOK OF TASTE. # from the individuálity and quality of any object, which distinguish it from others of the same species. 2. There is no man without a character of some sort or other; even he who is believed to have none, and taken for a Proteus, has a character--that of having none, by which, in fact, he is distinguished fran others. 3. The talent of discerning these indivi, Vual traits forms one of the most important branches in the art of secing and portraying. The head of Alexander, for instance, announces in a moment the mind ambitious of universal conquist. This is perceivable in the full round salient eye, full of fire and upturned ; iħ the projection of the chin; in the mouth slightly opened ; in the eyebrows, &c. In Athens there was a school established for the sole purpose of draw." ing and studying the physiognomy. 4. Characters display themselves more forcibly 0 ·CONTRAST OF CHARACTER. 71 when they are contrasted with one anothers; but this must be done without affectation. One ought likewise to be able to recognise at once the different character of each figure on the scene, as if he had himself been actually living and inoving amongst them. 5. The most interesting characters are those of man under the influence of moral action, If they are well portrayed, they enable us to read his heart, to anticipate or divine his sentiments, and discover the motive of his actions. Characters are the portraits of the disposition ; and the artist who knows how to manage and represent them well, affords us the means of investigating the secret qualities of others for our own personal advantage. We become wise with Marcus Aurelius, and prudent with Ulysses. This is the dominion which the artist exercises over the heart of the spectatoi. The personages we approře touch us more sensibly : those whom E 4 ·72' HAND-ROOK OF TASTE. we disapprove ought to excite in us & deeper aversion. 6. Now let us examine the picture of Christ disputing with the Doctors, in the National Gallery Even the most unobservant distinguishes at once the dignity of attitude in the principal figure, - the calm, smooth, and open forehead ; large and tranquil eyes, beaming with kindness and intelligence; the straight nose and even mouth, indicative of composure; the grand and simple forms, which give nobility and grace. It is objected that the age is too much advanced to be true to history; but the natives of the East áttain to manhood' at least two years before we do, and some are even more precocious than others. Besides, it is not an ordinary man, and therefore not erdinary nature, which has to be represented. Observe the beauty and delicacy of the hands, almost feminine, to denote extreme youth ; full, and tapered so eyenly that the forms ·CARIST AND THE DOCTORS. 73 -as beneath the surface are only just apparent, as smooth and even as the character of the being they belong to: their position is highly expressive, and perfectly consonant to nature. It is still common practice in Italy, when people are disputing, to tick off the different heads of argument as they proceed upon the fingers of the left hand. Here the Christ has already reached the third point of his discourse, which the painter explains by this simple gesture; and that leads the spec tator at once into the middle of the discussion, while it informs him of the precise moment at which the action commences. It tells us that the arguments have already advanced sufficien ly to elicit the different developments of character depicted, and to account for the various passions exhibitad on the canvass. On the right hand of Christ stands the leader of the opposition, whose haughtier figure and bolder features show that he is formed to be the chief of his companions.

·74 HAND-BOOK OF TASTE. His upraised hard and pointed finger indicate that he has made an exception, and arrested the arguinent, just as the Christ was proceeding to the head he is marking on his finger. The slight rurl in the mouth, the wrinkled smile of the eye, the forehead high but contracted above, even the decided gesture of the forefinger, all show that he has made an objection which his reason tells him is untenable, but which he feels will produce Its effect upon his companions, though it does not ineet the subject in dispute. Behind him is a inun'of maturer years and more judgment, but with less consequence of demeanour.. lle listens attensively: his reason seems to acknowledge on which side the truth prevails; but the contracted brow and stubborn lip protlaim that his opinion muy be changed, but not his vote. The principal figure on the other side of the picture, who is the second in prominence and consequence, amongst the doctors, is strongly coptrasted with his op- 2 ·I CILRIST AND THE DOCTORS. 75 posite companion. He says notuling, ard scarcely condescends to listen : but the muscular compression of the mouth; the under-lip projected in derision, as though it would triumph in his companion's argument; the clevation of the chin, and the look of the nose which comes down to meet it; the wrinkled lines across the forehead; the small, nervous, and half-opened eye,-all betoken insolent pride, and ignorant prejudicc. He scals his heart, as close as his inouth, against the possibility of conviction ; he meets with a sneer the arguments which be cannot disprove; and requites nildness and humility by malice and malignity, veiled under art afftctation of devision on discain. All is in character. Observe the stiff neck; the head set back, and obstinately pressed into the back and shoulders. Hoy characteristic ! Observe, too, the hand, --its knotted joints, its very attitude crabbed and distorted, like the mind of its owner; whilst the fingers press ·76' HAND-ROOK OF TASTE. ID firmly on the very corners of the book, e though they would say, “ Although this book contained only a portion of the truths which you say it does, my mind is closed against them, and they shall be closed to me." Behind this man stands the last of the disputants. His countenance betokens less of arrogance, but at the same time less of intellect, than therother 'three. He too, like the one opposed to him, listens attentively; but is Wifferentlý anected by the discourse. His features generally possess a better character than the others, so the expression upon them is less offensive. He seems to think, “there really may be so ne truth in all this." But bis intellect, like his passions, is not strong. "He directs his glance to the countenance of his hearest companion, to discover what impression ths argument hes made npon him: he sces the hard insulting sncer set there, and determines to go with his party. 7. Every character is suitable to the artist's ·$ APPROPRIATE CHARACTER. 77 purposc which is possessed of the three following qualities,--not trivial, decidedly marked, truc and existent in nature. If it be arbitrary, mcan, or so fecble as not to declare itself, it can have no effect upon us. 8. Every'such character will gratify the observer, provided it is well and consistently po: - trayed. A king in anger should not fret and fume like an ordinary person ; nor is the grief of a hero like that of a woman or a poltroon. Tho most perfect beauty, saya Cicero, was not bestowed in an equal degree even upon all the divinities ;-cach had his own, as eack actor has liis proper part. 9. The selection of that which is the most beautiful and most intcresting will always be the Ir.ost impressive ; but this dots not imply that homely scenes, domestic incidents, or light and festive subjects, are to be rigorously excluded from the arts. Man is born with an instinctive ·78 HAND-BOOK OF TASTE. want of recreation and amusement. It is only necessary that these subjects should not be treated in a vulgar manner. Like those in the higher walks, they must be selected with taste, and embellished with truth, so as to preserve their real character, and make them interesting instead of insipid. Such was the famous picture which represented the espousals of Alexander and Roxana, painted by Aetion, and exhibited at the Olympic games, where it gained so much applause that the president gave his daughter in marriage to the painter. It has been described by Lucian, imitated by Raphael in the Farnesina,' and transferred into the Henriade. SELECTION. The impressions received by the two sensce to which the fine arts exclusively apply them.

·SELECTION. 79 selves, are less strong than those of which the others are susceptible; yet they are more numerous, varied, and extensive, as well as more nearly allied to pure reason. The artist, therefore, should be aware that his exertions, in every composition whatever, are to be .guided by this principle, - that the whole and each part of his work shall possess such an expression as is most likely to influence our sentiments and imagination, which effort can never ve obtained without tasto ani! intelligence. The work must present a selection of appropriate subjects appropriately expressed, if it is intended to reach our hearts and reason through tiro medium of the sight, and the delight which the vision is capable of procuring us. To gain this object the artist stands in need of exquisite taste; good canse ; knowledge of manners, habits, and customs; talents properly applied ; and a coup-d'ail true, penetrating and observant, -to direct him in the ·80' HAND-BOOK OF TASTE. choice of that which is generally pleasing and interesting. MERIT. ar 1. Merit does not consist in a copious invention, nor in the multiplicity nor variety of the figures and groups ;-- these are but means, and whoever stops short at the means will never arrive at the end. The great, ihe fi:zal merit of work of art, consists in the force and variety of the characters, well chosen and well expreseod, and at the same time always instructive. 2. To be useful, to gratify and instruct at the same time, it is necessary that the arts should rely upon beautiful nature; and that beauty will always be in unison with the importance of the subject. Bụt that Callicrates should engrave a verse of Homer, or even the entire ·MEANING INFELLIOLLA. 81 VY Iliad, upon a grain of millet, and should make in ivory car which might be hidden ander Ay's wing; or that Myron should form a dow 80 natural as to seduce all the bulls in the pas ture;- when they have done all this, they will have made nothing but trifling absurdities, intonishing only to the eyes which an Ivory. turner of India or Ghira could do as well, and will have consumed in these their trifles perhaps more time and labour than would be required for the production of objects really useful, as well as ornamental. or gratifying. Assuredly. one who misses his path wastes more time and tail than he who pursues the straight toad. 3. Whatever objeat the fine arts represent, ite meaning ought to be immediately apparent ** what the figure is doing, who it is what it igninifies, and with it says to us that is either ela quent or important. In the Laocoon, 'for in stande, we see the most beautiful expression of ·82' HAND-BOOK OF TASTE. sublime sufferante. The Apollo presents an image of masculine beauty, combined with the most perfect endowments of the heart and head. «The Venus erabodies the beauties of the female sex, thcir grace, their gentleness, their tenderness, their modesty. 4. Mankind has yet further need of yirtue, of probity, and its synonyhie, universal beneficence; and it is from this necessity that they extract the most glorious of their pleasures. The meaning, therefore, ought to be influential as well as intelligible. "Look upon Marcus Aurelius! * If his ringle name forms an apology for humanity, whae an ardour Reole the practice of virtue ought not, his image to produce thero as it is up in the Capitol - in the performance of the brightest action monarchs can achieve, did they but rightly understand the real purport of their The equestrian statue of M. Aurelius on the Capitol at Rome.

·STATUE OF MARCOS AURELIUS. 83 calling. He is giving peace to his people in an attitude at once of majesty and simplicity., Look at that head of real character! It is the head of onc all ardour for the performance of his duty, who has to support the heavy and immense load of creating his people's happiness.. Even the mantle easily disposed expresses majesty. Alas! why are not the fine arts always employed on subjects so consoling? Why have they never become as influential as they ought? Because they have employed themselves upon the Neros and Caligulas, as well as the Trajans and Åntonines; because they have ennobled and prostituted themselves alternately. Hence they are significant and insignificant, - by chance or by caprice. All these are general principles, alike applicable to both branches of the arts ; but painting, which has other advantages, and more variety, ·84 HAND-BOOK OF TASTE. TASTE. than stulpture, is also subject to other laws, those which relate to composition, chiaroscuro, and colouring COMPOSITION, 1. A single statue, eveti though naked, is in reality a composition ; that is to say, it results, from the art of combining together beautiful parts, selected from different quarters, in order to comprise a whole equally beautiful and instructive. " Again, it is viewed. all round, and not from a single point of sight; therefore'a statuc is said to be well composed when all its parts, the limbs and attitlides, are so arranged that it produozs an agreeable effect. from whatover point in the circumference you observe it. To succeed in this is no easy task. The disposition of the drapery, the pose of the figure .

·INVENTION. 85 the adjustnient of the limbs, nay be symmetrical and beautiful in the front view, but form awkward angles, cutting lines, and unpleasant masses, when seen in any other position. 2. If the composition of a single subject be difficult, it is much more so when extended to groups, and still more in bas-reliefs; because +be multiplicity of differtat objects ought not to form more than a single argument possessing variety in its parts, but unity in the expression. 3. Painting, on the other hand, requires a greater extension and more richness in all parts of the composition. The lås winich ought to regulate it are, therefore, more numerous and less simple. They depend upon the felicity of invention and propriety of di..tribution. 4. All nature presents itself to the intelligence of the poet and painter; and it not only presents itself as it naturally is, but as it has been, F 3 ·86 FLAND-BOOK OF TASTE. as it may, and as it can be. To unita the indefinite link of tinte and space to the present order and past vicissitude of events; to know all' their causes, and make them operate on the mind agreeably to the laws of harmony and truth; to re-unite the broken fragments of the past, and anticipate the fecundity of the future; to give a palpable and sersilie substance to that which exists not, and which perhaps never will, exist but its the innaginary essence of things ; this, according to Marijontel, is called invention in poetry and painting. 5. But all is not probable whickr may be possithe; nor is every thing interesting which may be true. Hence invention does not consist in launching out into those regions which are too reniote, above our comprehension, or beyond the reach of our senges ; bụt in combining with harmony and variety all that which is around, between, and within us.

·. of real life are always defective or insignificant ORIGINALITY. 87 6. A faithful and cold copy of what is ever under our eyes is not an offspring of the invention, which consists in discovering, developing, discerning, collecting, and combining that which remains unobscrved by the generality of mankind, but which in the mean time serves to inake up a whole possessing interest and originality, ard formed by a combinatior of known and acknowledged qualities. It is not absolutely impossible that history, fable, or sociery, should present us with a picture exactly as it ought to be; but it is a phenomenon of the rarest occur- Even the most extraordinary accidents in some point or other. They require, therefore, that these defetts should be supplied by ert, that is, the invention of the artist. 7. On the other hand, inventing is not creating. Man creates nothing new; he only imitates what he sees; but he gives an appearance lence. + ·88' JIAND-BOOK OF TASTE. of originality by che choice, varicty, and freshness of his combinations. Thus the painter does not invent what is new, but he selects every thing which is most interesting in history, fable, or real life, and transfers that into his picture. Ilis invention consists in this translation. Hence invention has reference to all the departments of art - the composition, distribution, expression, chiaroscuro, colouring, drapery, and accessories., u 8. The «l'ærest and most valuable accomplishment in the art of invention, is the knowing how to selzct. Natute presents herself with the same freedom to all men, and almost in the same colours to all cyus. But the more secing is nothing: every thing depepds upon beifig alle to discern ; and the advantrge which great minds possesf over ordinary ones, is the capacity of selecting what best suits them with most judgment. 9. An interesting event being fixed upon, its ·UNITY._ACTION. 89 . details have next to be compressed into one focus, and represented under one“ point of sight, in such a manner that all the parts concur in the same enl, forming by their mutual correspondence a whole, which shall be simple and single. This constitutes unity in composition. 10. Unity supposes a scope, a single subject, towards which every tõinc trnds, and is directed. The action, interest, time, place, 'manners, and design, are all subject to the laws of unity. Any violation of these- annoys the reason, and so diminishes the effort of a picture.' In the Transfiguration, the unity of time and placc, is not preserved. A boy and dwarf quarrelling for the posuersion of a parrequet at the Last Supper, destroys the unity of iAterest and manners. 11. The action is the conflint of causes which tend to produce any given fact, and of the obstacles which oppose it. A battle is a single event, although composed of a multitude of ob- ·90 IIANI)-BOOK OF 1ASTE. jects and differers, actions. The principal action is the result of all the particular ones employed as episodes or as incidents Such a connection ought to exist between the principal action and the episodes, that no single piece can be removed without injuring or destroying the whole machinery. The simpler the action, the beautiful and interesting it will be. Simplicity prevents confusion, Who can be distinguished in a crowd? 12. As no figure ought to b: in violent contortion, neither ought any one to have its action terminated ; for so it would become cold and deathlike. Whici. Je step, gesture, or motion of any kind 18 concluded, the imagination of the observer i. bounded with it ; but when the act has ynt to be terminated, we imagine other movements, and thus the figure seems alive. 13. A composition may be copious in figures, yet barren in ideas; but the reverse of this is next ·NEGLIGENCE. 91 to an impossibility, since it requires immense study as well as talent to vary the beauty as well as expression of every figure, while all of them are necessary to the tale, suitable to the subject, and productive of unity. 14. A certain neglect of finish is allowable at times, and in some parts of a composition, for the purpose of giving mote projninence to the principal subject. But it requires skill to be negligent. To paint the face with the mosv elaborate* care, and leve all the rest of the figure, the back-ground, and accessories, a "daub, or ih a mist, or indistinct, does not show skilful, negli. gence, But inartist-like poverty." 15. It is not necessary that the expression should be centered in a single character: on the contrary, it ought to be distributed proportionally through all of them, from the principal one down to the least important; but it is absolutely requisite that it should be compressed into one ·92 HAND-BOOK OF "TASTE. + single point. The moment of syprenge interest in the action is the moment to be selected, without any reference to what has preceded, or may be subsequent to it. This instant being once decided upon, all the rest is equally decided ; every thing follows in its natural order, and takes up its appropriate place and part. 16. Every person popsessed of conimon sense is capable of pronouncing an opinion upon the 'composition of a picture. If you arc ignorant of tke subject, go and learn it, if you recognise the story immediately, so much the better ; consider then whether the most interesting momnent of action is selected ---- Whether all the concurrent incidents are of a nature, most favourable for giving the history its greatest possible effect --and whether the characters are the most expressive and most suitable that can be. Every thing which is contrary to nature, truth, and unity, is a defect in the inveñtion. A mixture ·RAISING OF LAZARUS. 93 of any thing contradictory, obscure, or of doubtful meaning, is equally offensive, as the introduction of objects which are useless, or foreign, or which distract the attention from the principal subject. 17. There is the Raising of Lazarus, by Sebastian del Piombo, in the National Gallery, a picture which contains all tlit hest elements of composition. Let us try to understand it. The incidents of the story are as follows:-- Jewishfamily-of two sisters, Mary and Marthay and their brother Lazarus.--enjoyed the friendshuipund love of Christ. The brother fell sick, and died. Four days after the burial ot wins announced that Jesus was approaching He canic to the grave, which was a cave, with a stone to civso it, and sajd, “Take.ye away. that store: Lazarus, come forth !” — and he that was dead came forth, bound hand and foot with grave-clothes, and his face was bound about with a napkin. Jesus ·94 HAND-BOOK OF TASTE. 22 go ! " saithe unto theſh, “ Loose him, and let him This is the moment at which the painter takes up the subject. Jesus and Lazarus form the prominent figures in the picture, as they were in the story. The finger of Jesus, pointed downwards, indicates the command to loosen the revived man ; his right hand uplifted, with open palm, seems to appear to the Power above, while it refers the spectators to the agency hy Which the miracle was performed. Lazarus is in his first amazement: his look tewards Jesus is scarcely orte of rerognition, but of astonishment: whilst his hands at the same time eagerly assist in fearing off the bandages which confine him. Martha, wjth averted fiead and upraised Tidnds, shows by ker attitude and gestures that the sudden apparition of her brother is a fact too startling and too affecting for her powers of mind to bear with calmness. But Mary, the devout - all faith and gratitude ·RAISING OF LAZARUS. 95 is kneeling at the feet of Jesus, with an expression of holy and humble thankfulness. The sorrow of neither sister is yet turned into joy, but into devotional rapture or to awe. Peter also kneels at the feet of Christ. John, behind Christ, appeals mildly to the miracle against a disputatious Jew. Others of the spectators are amazed; some. merely curious ; some by their looks trying to doubt the fact, and already propounding their arguments to dispute it ; whilst in the back ground, their proper placc, are those wean, selfish, venerable men, who feel that a notable miracle has been done, which they dare not deny, though determiner to slander is author, whoni they cannot silence or refute, and whose progress they are unable to prrest. The woma in the middle ground seem to be professional mourning women, similar to the Fræfice of the ancient Komans, who preserve their character of mourning in the spirit of profession, by continuing to ·96 HAND-BOOK OF TASTE. pursue their votation when the necessity for it has already ccared. 18. That pleasing effect which wc feel in-heholding a multiplicity of objects at one glance, is produced by the order of their disposition being well digested, and not thrown confusedly together without consideration or discrimination. Every figure ought to be in the place adupted for it; the principal one inost proniinent, and the others at proper distances, to allow them the faculty of moving themselves with ease, as their circumstances require or their fancy wills, get, so as to be seen distinctly, and arranged with such 'skillegue above the other that the imagination ‘may supply the parts wilich are concealed - All ought to appcar disposed without constraint; for then the eye of the spectator wanders over the picturt, reposes and dwells on it with satisfaction. 19. The arrangement of the ugures, like every ·ARRANGEMENT. CHILAROSCURO. 97 other part of the composition, is to be made subservient to the expression, and therefore ought to .vary according to the nature of the subject. In the Massacre of the Innocents, at the National Gallery, the figures are crowded together; interlaced in every variety of posture, their limbs and bodies crossing and recrossing each other throughout the whole picture. This expresses the confusion of the scene. The want of room shows that there is no room icr moving, no chance of escape. Raphaei was, inuerd, a master of composition. CHIAROSCURO, 1. The light which falls upon any -bject does not illuminate that object with the same degree of splendour or intenseness in every part; because the rays strike more vividly upon the parts which are near, tran upon those which are further G ·98 HLAND-BOOK OF TASTE. removed from their source. Again : if an object is round, or las its sides inclined, the rays of light do not fall perpendicularly upon it; their strength is therefore diminished in proportion as their obliquity increases. If, on the other hand, the rays of light fall upon a body which is placed between them and any other, that other is thus shut out from receiving any of the direct rays at all. From these, and such like incidents observ. aðle in nature, results the science of chiaroscuro; whichsis the art of distributing lights and shades o ay to relieve those parts which ought to be prominent, give rotundity to some, flatness to others, and again ih others brightness and transparency. It is applicable to colours, as well us to subjectstopresented witliput then, that is, in black and white ; qto a picturc as well as to an engraving, or a cartoon. 2. The light ought, not to be introduced as it it came from a window, or through a hole, unless .

·MASSER. — REFI,ECTIONS. 99 the subject absolutely demanas it: on thc contrary, it ought to illuminate the whole picture in a broad nass, both directly and by its reflections, always bearing in mind that the intensity of the light or colours is to be properly harmonised. 3. Masses are those broad expanses of light without any shade at all, which are distributed in befitting and prominent ports. Shadows interrupt and cut the masses of light. When they are H0' arranged as not to produce a detect of this kind, the figures will be distinguishable, as they ought to be, even from a distance. 4. Now, 'as the object which is ncareci to the light receives the strongest illumination, it foilovs that there is a constant degradation, according to the lesser or greaver remoteness of the objects represented, froin the greatest splendour down to the total privation of light altogether in those parts which the rays of the luminary cannot penctrate.

·100 IIAND-BOOK OF TASTE. 5. But darkness is always unpleasing. It is thereføre obviated hy reflections. These are of two kinds: the one a simple light refracted from hard and polished substances, such as glass, metal, marble, &c.; the other from bodies not polished : and these also reflect colour as well as light, which is always tinged with the tint of the object from which it comes. Hence small quantity of light and a great number of reflections produce much, that is grand, very little that is small, much that is illuminated, and nothing dazzling.. 6. 'Raphael was ignorant of reflections, which conduceso much to clearness, variety, and beauty. In conjunction with allthe Florentine school, he employed bright colours in the fore-ground, contrary to the practice of the painters of Lombardy and the best colourists, who made use of simple colours, red, yellow, and azure, which are more appropriate than white to bring objects close to the eye.

·COLOURING. 101 7. In the harmony of chiucoscuro, Correggio stands pre-eminent. He has never been rivalled, much less excelled. COLOURING. 1. Colouring is the art of giving to each object the precise colour which becomes it, in order that the whole may produce a beautitui imitation of nature. All the effect which results from form acquires an additional force by means of colouring. If nature pleases us by har forms, she enchants us with her colours. 2. To understand the beauty of artificia.rolouring, it is first of all necessary to understand that of nat'ıre under her most favoured ciimates and in her most favoured productions; to compare, examine, and exerriss the eye in what is beautiful, and all that is most perfectly so. One G 3

·102
HAND-BOOK OF TÅSTE.
who examines with attention, observes that the
same objects appear'beautiful in one point of view
and not so in another; and he discovers that the
difference arises citlier from the quality of the
light which emanates from them, or from the
manner in which they receive it. Too strong at
light hurts the vision, too weak a one has no
effect. The spot illurnipated by the sun's rays,
when those ruys are tempered by the vapours of
the atmosphere, produces a charming effect of
colour, and the'sombip features of trade become
plcasing, when ils obscurities are softened by the
rays reflected from the azure vuult of licaven.
Hence two sorts of light niny bo employed in a
pirkure - the one coming plirectly from the sun,
but well-fempered; the ofher reflected from a
cloudlesa sky, which sheds & varked and pleasing
softness over the masses of shade.
3. In proportion an objects are distant, their
colours gradually modify themselves,, partuking

·PRIMITIVE COLOURS. 103 * more and more the tones of tnc aërial tirts, as they become more and more remote; and thus all bodies, and even the different colours themselves, when seen at a great distance, take the common colour of aërial perspective. 4. Nature employs but two metals, iron and copper, for colouring the whole creation. All her variety results from the varied combination of three principal colours: red, yellow, and azure. What a harmony there is in the rainbow! Take away but or of its principal colours, the red for instance, and the harmony is gone. The ancient painters for a long time employed. orly. these primitive colours; the moderns make use of a considerable nuniber. But with these thre, and the addition of black and white, eight hundred and line teen different combinations may be produced. Ilence Apelles and Protogenes might have been as good colourists as Titian or Correggio. G 4 ·104 ILAND-BOOK OF TASTE. 5. Every object in painting will be well coloured when it possesses its real natural colouring. The white of woollen, liner, or flesh, are whites of different qualities, and each of them ought to be produced without crudeness, or without reminding one of the palette. These are the loaal colours, that is to say, the natural colours, which an object appers to possess according to the greater or lesser remoteness of the point from which it is bebeld. Its distance is determined by the wërial perspective. Red, for example, is the local colour of that part of a picture where a dress of scarl t inay be represented. But as colours are aiso produced hy the reflections of light, which ligic is subject to a variety of changes, as well on account of its different degrees of intensity as from inany other causes, it thence follova that there will be an equal variety of shades or tints in the same colour, which is called scarlet. If the sun shines strong or languidly upon it, hori ·LOCAL COLOUR. 105 zontally or perpendicularly — 'f it be aot illuminated by the sun itself, but wy the azure sky, or by one or more artificial lights -- if the light falls directly upon it or obliquely, or shining through any other intermediate objects — or if this light comes from a distance or from the vicinity -- from all thesc, and an infinity of other circumstances, will result many different shades of the single colour, all of which are indiscriminately called scarlet, because our language is ueficient in aprropriate terms to express every gradation. In painting, therefore, the local colour is that which naturally belongs to the object itself, but modified atcording to any of the abovementioned circumstances; by which reflections, reverberations, mezzatints, mixed and imperfect colours, are produced, 6. There are certain objects — the sun for instance, fire, the diamond, gold, and polished bodies-- which painting, with all its ingenuity ·106 HAND-BOOK OF TASTE. and daring, can ik ver succeed in colouring with the same vividness as nature. In such cases the painter can only make an iinperfect approach to the reality by bestowing upon other objerts deeper or darker tones than those which nature gives them, 7. The human skin is the most difficult part of colouring, and of the most interest, for it is mankind which is to be painted. All other. echours are but incidental, existing only in the surface of the object; but in those mi the human race it would seeni that nature' intended to depict our very essence. The colour alone manifests ene's course of life, age, personal character, differcnt degrees of bodily power, and every inward working of the min... But what sort of complexion is the most beautiful. It is vain to ask such a question of the African, the American, or the Chinese. Even in Europe inclinations differ respecting this point. The French used

·COMPLEXION.
107
;
to prefer a milky whiteness; an' some .lations of
the north are captivated with a whiteness like
alabaster. It is agreed, however, that man's
complexion ought to be half a tint deeper than
that of woman. A good colourist will give such
tints as should belong to the various conditions
and characters of his figures. The complexion
of a princess will be fairer, more delicate, and
more transparent than those of her attendants ;
and a country girl will have a brownur skin and
firmer flesh than the inhabitants of a city. A
good complexion denotes the pur*y and moderate
abundance of the blood, which enligeng every
part of the body with a different tint, tinges
the cheeks with a ruddy light, the lips with
a pure verinilion, anit inakes the frcaliness of
health apparent in every
condition. Those
images which have the appearance of being fed
òn roses and lilies, or alternately rouged or
plastered with white paste, are not made of

·108 HAND-BOOK OF TASTE. 1 flesh and bloody but are unnatural as well as affected. 8. The tone of a picture must accord with the subject and the general expression of the scene : it should be bright and cheerful in a festive subject, severe and powerful in a serious one, sombre and impressive to express melancholy, suffering, or sorrow. A faithful imfiation is not confined to the imitation of nature exactly as she is, but in the appoarance of doing so. A painting is, in truth, a falsehood; but you believe, it, if the artist knows how to counterfeit so well that he seems to tell the truth. 9. The hármory of colouring results from the art of combining the local colours of all the particular objects which enter into the composition; and from this harmony is derived the unity of tone, the relief and rotundity of the figures. But to produce this accord effectually, the passage from a strong colour to one of a soft and gentle ·JARMONY OF COLOUR. 109 tint must be made by the inerposition of an intermediate one, which brcaks the Liarshness of the edges; and therefore a colouring of good consistency must be laid on with a brush which moves freely and lightly across the canvass, and not by dabbing with the point, or passing and repassing over the same spot, as animals do ho smooth down their fur by licking*it with the congue. This freedom it is which gives freshness and bcauty to colouring; and this it is which explains toe wearing of a very comunon expicssion-“So well painted that it appears natural, and so beautiful that it appears to be a painting." CONCLUSION. 1. In conclusion, it is only necessary to repeat what has been already stated, that the sentiments here propounded are not the opinions of an ·110 LAND-BOOK OF ASTE. ennot individual, but whose of the most experienceel persons who have given their attention to the subject, whether as practical artists or lightened critics. They contain a summary of the general principles upon which the higher branches of art depend for their success drawn from fancy, but from a judicious obseryation of the practics pursued by the greatest artists, both ancient and modern; just as Aristotle and iſorace deduced their canons of poetic criticism from the writings of thc yreatest poets who haul preceded hem. 2. If they seen to exact too much from the artisc, or to fix a standard too high for human powers of attainment, do not discard then or deny their truth on that alciunt; but remeinber that no one eyer leaches th> ainhe has in view - he always falls short of his desires in some way or other; therefore the further in the distunce he places his imaginary goal, the more .

·AUTHENTICITY OF GREEK WORKS. 111 elevated the model he chooses for luis imitation. the nearer will be the progress which he makes towards perfection. What an interval there is between the hard, dry, inanimate manner of the early Egyptiau style, and the Apollos and Gladiators! And yet these statues, however admirable they may be, are not the most esteemed works of Greece; they are not the Olympian Jove hurling his thunders — not the Minerva, the soul of eloquence --- Lot the Verius, &c. &c. We do not possesso ore of these chefs-lucuvre unowget the relics that remain to us; and those we have appear to w excellent only because we have Lover Acen any thing better. Perhaps tvene, our best specimens, are nothing more than copies by Greek or Roman artists, refitted in the ago of decadence, and then tortured by modern restorations. Ile must be credulous indeed who allows himself to be imposed upon by the Greek names inscribed upon some of them, but in characters * ·U2 HAND-BOOK OF TASTE. very different fron those in use during the best periods of Greek att. 3. If, on the other hand, these opinions scend to be at variance with the notions you have already preconceived, do not therefore reject them with petulance, nor in a hurry. Call to mind that they are acknowledged as truths by all who really understand such matters : reflect, before you reject; and consider that the united authorities of the great wen who worked upon such principles must we of more value than the empty declamatious of any number of ignorant pretenders. Accept, then as true in the first inştance; then test their truth ut Ilampton Court, in the Na tional Gallery, or at the British Museum, and you will become convinced; and not only convincol, but you will find that you have made yourself master, not of details, but of principles great and general principles — which will enable you to decide with confidence, that confidence ·NATURE'S SCHOOL. 113 wljich теаѕоli lone can give up on the productions which your own countrymen submit to your inspection 4. When you know and admit the principles which guide the artist, and would lurther understand the art of seeing, go and look upon naturo, and society under every aspect; (xamine, compare, select ; and you will learn to understand the productions of the tine arts. A knowledge of the original will enable you to reap greater ot-njoyment in looking upon the improved copies, which are made with so much ditficulty more beautiful than , their model. In these copies.you ough to observe the chosen beauties of nature.united in vi.rious conipositions, invented and clisposed with taste and ingenuity ; expresor all of then' with correctness, grace, selegance, and propriety, un well in the drawing as if the colouring of all the principal and subordinate objects; all endowed with the character which befits their respective .

·DIANI)-BOOK OF TASTK. conditions ; and albatending to produce unity, whatever may be the assumption they are intended tv illustrate--always and invariably unity, although diversified by the draperics, architecture, machinery, landscape and grounds; all working out an expression which may enchant the eye, loy, presenting a whole which is never seen so beautiful, or in such combirfations, in real naturi: or society; and all for the purpose of feeding the mind with a knowledge of what is rise and useful, und of touching the luart that it may be incited'to virtue.n 5. Eren.this is not sufficient. It is necessary to dwest yourself'li al prejudices or prekonception, that you may not, like Ixion, mistake a cloud for "Jino. Do not allow yourself to be imposed upon by the celebrity of names. À nanc makes nothing. Hanlet or Othello would give you cqual pleasure if they had been anony - nous publications. It woull bescll if all works ·CONNOISSEURS. 115 were anonymous : conceive wat they are so; and create for yourself' a just coup-d'wil by consteint exercise, which will teach you how to discorn the slightest variation in the forms, proportions, attitudes, accessories, characters, and expression. After all, a good opy is better than a load original. 6. If the name of the irtist is not allowed .tv influence your judgment, neither should you permit. your reason to be enslaved by submitting it to the dictation of others. How weldom is it that a man's taste is forined upon his own observations ! Most men see things, not in their own colours, but in those which others have ascribed to them; they with other men's eyes. “ Take your own surtiments for your guide," said the oracle to Cicuro, “and not the opinion of the vulgar.” When you meet with one who has the reputation of being' a “connoisseur," whose knorvledge is contined to tho science of 6 11 ·116 JIAND-BOXOK OF TASTE. - terms, stories, anécdotes of the lives of artists, the vicissitudes which their works have undergone, their prices, their scarcity, and their cetebrity -- who sweeps his hand with a peculiar sort, of air over some little spot in some great picture, or imitates with his fore-finger the motion of the brush, moving and circulating over the canvass us it would do in the bands of an able artist, while his eyebrows arch themselves to the skies at the mention of a name, - be sure that that man is an impostor: le may be a siccessfui picturedealer, but he is not an intelligent observer ; nor should you take him for your guide with any great confidence than you would choose to bestów upon a critic whauwe knowledge of genuine poetry was confined to the pit of discerning the aytogtaph of every.author, from & forgery. 7. Do not permit yourģelf to be deceived by show and glare, uqr conceįve that the work which makes the greatest impression upon you at the .

·THE EXHIRITION. 117 first glance is therefore the bes. This tells only at the Exhibition, where every thing is seen through a false 'medium, distracted as the eye must be by the bustle of company, the gaudy dresses, the glitter of frames upon the wall, and the chaos of colours. An artii tones his picture there for the express purpose of attracting attention, to make it prominent by casting its neighbour into shade. This is called “ demolishing a rival." When loruce Walpole was asked to give his opinic, upon a lady of brilliant wit and showy manners, the lioness of a party, who was applauded and flattered by all the circle round her, he only turned to his friend and said, “ But what's the use of all this at home? 8. Again: that wuch astonishes always diminishea in erfect every fresh time you recur to it; whercas real worth is unassuming, is often overlooked at first, but gradually gains upon you, unfolds new beauties, or presents the same ones ·118 IIAND-KOOK OF TASTE. in a still more preasing aspect, as often as you revişit it. The Paradise Lost was sold for 101., and remained neglected for many years after its publication; but now we never tire with reading it; and the oftener read, the more it charms. Mademoiselle de Launay, afterwards Malame de Staël, who had a niece living with her possessed of considerab'o personal beauty, used to say, “The men come to see Sophia, but tlıey stay to converse with me." We, too, go to sce the pictures at tre Exhibition. How many of them are there with which we should wish to stay and converse ? 9. Finally: if you would have good artists and great works, nover consuut to accept the merits of execution for the intrins c merits of a work. The value of a poem does not consist in hctpressed paper and Bas"erville types. painting has no merit beyond its beauty, it has failed of its end ; if none but its colouring, it bren 6 If a ·GREAT WORKS. 119 ' failed in jts mca'ns. To be perfect, it must be a beautiful as well as a good painting: and it cannot be a good picture unless it improves and instructs at the same time that it pleases ; for it is not the eye which discerneth beauty, but the intellect, as was said by Euripides more than two thousand years ago :- Ου γαρ οφθαλμός το μορφήν κρίόν έστιν, αλλ' ο νούς. ITIE ENI).

·1.ONDON :
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Cromwell, of course, holds his place in the collection as the founder of landling armor's in England ; anu Marlborough, as the man who first established the claim of the British bollar take rank with the best and ir at skilful in Europe CONTENTS ---Introduction General view of tn, Military Systems recugnized in England from the earluat peruxda down to the prewent wine - Walter Manay, x'ng u pecimen of the Militery Coniminder during the Chivalroy , A--- Sir Fr is de opbring a KXwmen of the Muhtary Commandery in the Thunbethan Agt-Oliver Cromweli--- Inhn Duke of Marlborough - Charles Earl of Peterlwrnych. Major-General Janus Wolte--- Robert Lord Cine---Charles Marqws Cornwallis-Sir Halpite Abercrombie---Sir John Moore.

·+ 1 11 upon Brn, furthod, DISTINCT WORKS COMPRIHED IN LARDNER’S CABINET CYCLOPÆDIA. Biogłaphy-continued. SOUTHEY & BELL'S LIVES OF BRITISH NAVAL COMMANDERS. The Lives of the British Admirals. With an Introdotory View of the Naval llistory of England. By R. SOUTHEY, LT..D. The pncluding volume by RouxRT DELL, Esq. o vols. fep. bro. with vignette titles, 304, cloth littered. • EXTILACT FROM AUTHOR'S PRRFACE. "It will lor nestlict an unwortliy nor a uslena tuxk for in Englishman who lim his country, and who, in doing this duty towards it in hus station, trusts that he may deserve to heleid in remembrance by Jonterity, to record the artions of those brave men hy whom nar dominion over the NPH Wile acquired, and a Series of their Lives will be the most convenient form for a Naval ilistory: 0 It in, huwrrer, no wish of the water that the work he has thnk undertaken should be the cauru of inducing any hopeful youth, who others the night not have been so melined, to enter the Naval Bervice, nevertheless, us for that profession, wath all its determents and its moral dangers, alven. turers never will be wanting, so long an, in the order of f'rovulence, nurh means of national defence Are Deedful it in good they should be provided with a manual of this kind, wherein, As In A the conduct of the predecessoirt mught to be regurekeni w warnings, nod what an examples. And bered, encla may and ought to buvr its approprate virtues, and those wluch the Heuman I called to practise are of a high order. He lives in count of prxutzons, welf.dental, and strict obediener, always 10 insecurity, often in danger, ont reldom in the face of death eithe.call forth the noble qualities of fun naturen werarn a bad drapunition, and harden an evul heart. The more porrsary it is, therefore, thut B, should be taught where to look for examples, and where for Assistance and support" BELL'S LIVES OF BRITISH POETS. Lives of the most iminent English Poste. By ROBERT BELL, Lxq 2 volo fep Hvo. with vignette titles, 128. cloth lettured. We design of the present wok is to riake such a certion as muy exhibit, through the 'lives of the principi Poets, the chief paints of interest the course and history of English Portuy. There burgraphien commence with the middle ol the Rixteenth Century, the Prats antecellent to Drayton 'having been previonylyncluded in a volume on the “Early English Writers." CONTENTS. Drayton, with notices of ('owiey, Vilton, Dryden Dus contemporariea, Butbr, TWO CENTI'RIOR OF MINOR POETU. se kville, Earl Taberville, Davien, Saftonstall, of Air E. Dyer, Lodge, Gomeraal, 4. Lord Grenville, Bir i 'Overbury, Vild, Corbet, w Sired. Beaumont, (leveland, Guylon, Stanyhurst, Sir ir J. Stradling, Sur J. Birkenhead, Storer, Fisher, Churchard, Sur J. Tuvies, Lovelace, wton, Turen, Hutinan, Sandbury, Lloyd, Morgan, leyson, (wen, Sir 3. Mennes, Sir R. Blachnorc, Retrospect; Muin object of these Notices of neglected Poetry. Pupe, Young, Akenside. DUNHAM'S LIVES OF BRITISH DRAMATISTS. The LIVP of British Dramatists. "By Dr. DUNYAX, R. BELL, Eazy &c. 3 vpla. frp. Bro. h vigaette titles, 12n. cloth Diered. CONTENTS. The Stagr immediately Webster. Wycherley. before Shakespeare. T'en Minor Dramatista. Fanburgh. In the Time of Shake Sulirley. Congreve. Havenant. Farquiar. The Life and Works off The Stage in the seven Colley Cibber. Shakespeare. teenth Century Mru. Centlivre. Een onnon. Otway. Arthur Murphy. Beaumont & Fletcher. Lee. Cumberland. Massinger. Mra. Behn. Mrs. Cowley. Foru. Shadwell. . . . Waller, Randolph, Fulwell Broukr, Withers, Browne, Hoxhins, Alutet, Holland, Bratiiwaytn, J.Watley, Startye Wamet, 6 Prior, espeare, ·DISTINCT WORKS COMPRISED IN LARDNER'S CABINET CYCLOPÆDIA. • Biography-continued. I'Isola, Gubern, * 7 DUNHAM'S LIVES OF EARLY BRITISH WRITERS. The Early Writers Great Britain. By DA. DUNHAM, R. BELL, Esq. &c. 1 vol. fcp. Aro. with viguette title, 6. clout lettered. St Column Alfreut thr Great. Heywood. The Introduction of Chris Englishnilization in Lie The Origin and Early Hitianity and Civilization Ninth Century tory of the Englimh Stage. into Nortle Britan. Chaucer. Spynwer. JAMES'S LIVES OF FOREIGN STATESMEN. Lives of the most Eminent Foreign Stutenmon. By G.P. R. JAXXX, Esq. and E. E. CROWE, Ewq. 6 volk tep. hyo wille signette titler, 30.cloth lettered. Cardin. d'Amboise, Duke oft sauna, De Witt, Ciurdinal Alberoni, Xinches, Lorenzo de Medici, François-Machel le Carlinal de Fleury, Leo the 'Tonth, Racheliru, Telser, Count Zinzendorf, ('arial Granielle & Oxenstiern, Marquis de Louvois, Murquis de Pombal, Maurice of Saxony, Olasarez, Ion Louis de Haro, Jos. Monino, Carunt Ranieveldt, Cardinal Tbosh, of Florida Blanca, Cardinul de Retz, John-William, Duke Duke of Choiseul, Duhi of Lerma, Colbeit, of Ripperde, Ne ker. SHELLEY'S LIVES OF AUTHORS OF FRANCE, Lives of the most Eminent Ireneh Wuth. By Mrs. SULLLEY, and others. 2 voln. fep. Avo. with vignett titlen, 12x. Inth lettered Montaignr, Rochefoucauld, Pascal, Roupurau, Mme Roland, Rabelais, Moliere, Nesigne, Fenelut ('ondorcet, Mme de Stael. Corneille, La Fontaine, Boli iu, Voltaire, Mirabeau, MONTGOMERY'S LIVES OF AUTHORS OF ITALY, SPAIN, & PORTUGAL. Lace of the most Eminent 1.rary Men of Italy, Spain, and Portugal. By Mrs. SHELLPY, Sur 1). Birw. 129, J MUNTOOMERT, &c. J votr. p. Hvo. with Vignetteutles, 1Hx cloth lett'd Tante, Iburchello, Marini, Fernando Herrera, Petrarth, Hojas .. Fluron Sha de Miranda, RoxanTIO, Berni Arioko, Meta tanto, Ercilia, 1.0I CILZU de Medici, Marluarelle, Jorge de Monte Cantilejo (mayor, Gu eurimi, Munti, Poliziano, Vittorin ('olonna, Ugo Foprolo, de Vega, Viente Panine, Bern.urdo Pulei, Lura Pulci, Torquato Tasso, Garten de Vega, Estrvan de Villegas Luigi l'ulri, Chialtera, Mendoza Gongora, Quevedo (cou de veritara, Tagstoni Truth de Leon, Calderon The Early Pocta of Portugal: Ribeyro, GU Vicente, Laa de Miranda, Ferreva, Camoens. Mazuring Sully, מוי:IL 2 Galileo, 3 fjudani, Hewan, Aataral philosopha, &c. HERSCHEL ON THE STUDY OF NATUP.AL THILOSOPHY. A l'reliminary Discourse on the Study of Natural Philosophy, By $12 JOHN HERSCHEL. New Edition. I vol. fep, Hvo. with vignet' title, Price 64. cloth lettered. On the general nature and advanuages of the should be conducted; with illustrations of study of the physical Aciences. their influence, as exemphibed in the hutory On the mpunk on which physical science relies of its progress for its successful prostution, and the rules of the subdivision of physics into distinct by which a systematic examination of nature brance, and their mutual relations. " It to not easy to deviar cure for such a state of things (the declining tante for acience); but the most obvious remedy is tn provid-'he ed cated clner with a sering of work. On popular and practical science, freed frorn mathematical Aymbols and technical terms, written in simple and perrpicuous language, and illustrated by facts and experiments which are level to the Lapacity of ordinary minde." QUARTERLY REVIEW.

·LARDNER'S CABINET CYCLOPÆDIA. I. Spon. 8 DISTINGT WORKS COMPRISED IN 3) Natural Philosophy, S.C.-continficd. POWELL'S HISTORY OF NATURAL PHILOSOPHY. The listory of Natural Phalenoply, from the Karlient t'rrod in thr Parnt Tune By DA TUWELI, MA Nurilin Prote. An of Matlunuaties in the nigernity of Oxford. I vol fep Ho. with smrtte Litir, Gu cloth letterul LARDNER'S ARITHMETIC. A Trentinom Authrarlar.By 1) LARDNER, LL.D. F' IS. 1 vol. Ap Aro. with knetter title, Go cloth letterru. Book 1. Whole Numbers. Chap Ideas of Number, and thrir expression by wortis.- 29. Method of expressing numbers by 'ymbols un Agues - Addition - 4. Sub traction.-5 Muliaplication.- Tuiston Boom 11 Fractions Chap. 1 un und nointia of frie lions, VTLUN of rxprehring this, their relative value their arkdrawn and sulitruction. Multiplatan BOOK III. ('omplex numb" Chap 1 Complex numbers in erarial, teir reduction and Aimplatication 2 Adilition and subtrnetion of complex numluk -3 Then multiple- Briox IV Proportion, and a numbers prartxal applications Chp 1 Proportion -- Rule of three.- Interct', Jount, l'ofit and loss, Brokeute, Communen Ture and tret, Insurum, l'artnerhaup HERSCHEL'S ASTRONOMY. A 'I'rtinc on Astropathy Hy Sir Jonx JlERSTHET. New Kliton. 1 vol. fer. Bro. with Vhette title, fix, cloth lottered The obfert of the piment work in it to offer to the public a trufinicul tientor, in wuch the student of pictul ur theoretical astronomy slaall fiue ounigned tre minute de scription of methods of observation, but 1o pri wint in ear the neti ultimiita rationale of fact, rumenta, and process, and, in l. of mathematical application vouling whatrier wekel tonil to oneum befits pauzes wfh tezlural or geometria ymhol, per under the inper turn of the student that contul three of common sen on which the ju of unula fual rearurch are invariably mtiune. KATERE LARDNER ON MECHANICS. A Trentase on Merluanies. By 'apt. Karen rond lr LARTNER You Edition 1 vol frp. Avo. with mettr title, and 19 tel. (compri-ing 2224 listinct hyures), is cloth lettered Broj TUIN of matter. The centre of gravity. Of the pulley Inertia Mechanical properties of an Ot the regulation and arru. Artion ind react UD mulation of turer Conjuction and resolution pulum. *Mechanical contrari* for of force Tudiftig motion Altrurtkin Jeter Fru Terrestrial Starity tion and thi yurdity of Of we work. couri Motumat dans un ineling of the lined plune, wedge, Strength ol matetida pluneend curtes. and we're B.ular cs and prinduluma. BREWSTER'S OPTICS, A Treatise on Optics. BA Sur Darm NorwerR, LL, DI R.S & New Edition. I vol. fep. Hra ni mugurite tutle und 176 wondeut, fis ... Itlesed. L'Aur1 Reflexion and Refr.c!son of Inght- Cirflexor by specula and mirror, formed by inirror, Heirm vign thuongham, &r Pjur !! Phracal Optv - On trolours of sight. The dampermon of ligfit. The plurvation of lucht; Phnument of compunite crystal, On the double colour il badun Pani III Ipplicatwon of optical principles of the explanation of natural phenomenu--- The Kainlon, Ilon, On the ese and son, tr. PANLIV On optical Instruwents , Tlcuncha-obscurs ; Microscojms, Tek-say, &r. &ct LARDNER ON HEAT. A T'ratis on Heat. ily D LILAR, LLL &r. 1 vol. fors sro with vignette title and woorl. culth, 6 cloth letteret. Ch.1 Introduction Difested by the Chap. 14. Mutual influence 3 Dilatation of solids effrets of heut of het and light. 3. Dintation of ginen Culp. 9. Yaapurization. 15. Comhuintion 1. Dlutation of liquids 101 Evaporutan. 16 Sonnation or het 8 The roameter 6. Liquinction. healing 17 Sources of treat IK There's of heaty bullition. 13. Promatron of heat ATPENDIX, Taldey. 8. Natural furoes maby contact & &c. IXIE . or the . 12 > ·VISTINCT WORKS COMPRISED IN LARDNERS CABINET CYCLOPÆDIA. Natural Philosophy, &c. continued. DONOVAN'S CUEMISTRY: A Treatise on Clutney By MOTTAFL DONOVAN, M.1.1 Fourth Edition. 1 ol Scp dva. with vignette title, on cloth lyttered PARTI. SURYEY OF (RE47 ON. Char 1 Introduction, CHAN. 7. Constitution of the glo.e. » Attiation of gra station. T), ntinoitle're" 3. Afr.lion of boniun • The waters 4. Attriletion of thaty. Mmurid butunce 6 Ilinct sor Llore. Organized structures. # Luht PART 1) ARRANORMENT DITAMINATIOY OF TIL MAT). U ALS OF CREATIUN. CAP. 1 Elements, or simple kulutances, ind ('HIP. 2. Componude of me elements As pr. toll onbeate on wupus Mensten In the falle kingilon Oxygen Sulphur Arus of vegetables Hydrogen Sulinium Alkibe of inspiables Alote on Nitmgen l'hosphorus Chrr poros mute principler Carbon Fluorine 3. Compounds of now clements as par ("llerine Silicon sentru hy the animal kingdon. lucir Boron 4 Compuunda nf ucun with metallic ox- Bromine Met:114 Idennod-mrt.Divalkalies- Sults. PART III III YOYENA YRENEN PYT) DERNO NOME DEMARKABL, CHEMICAL (Hars. t'nar 1. On one prorrumpy connected with (ur. 1 l'ltimate ut les of matter--. animallit of the spontanenus decompositin Tacir relative neights of vegetable and animal nuttet Ration in which they combine 3 0 combustion Nuture of atomic nunilxr. LARDNER ON HYDRC STATICS A.'n NEUMATICS. Arreal- op lyriostatics and Pneumitus By Dr. LARDNER New Ldition. lol. fcp. Hvo, SCS clutli letused. 1 troduction Of dit int liquids in commu Propertus of utmospheric air. l'ruv of liquide 1710mg selv 1 lututy of air of the pressure produced by Exullorum of flonting bodiel Wright of ur the weight of que Spis fieltaes. Kur haction and condenaution 1.qud tantun Yerit level Ti verulion Inmortion of Holud in fuud of hydraulic machines. Machun DE MORGAN'S ESSAY ON PROBABILITIES. An Essly u Probabilities, and on their appliation th Lute céntingencimy und Innr-ance Officra. By Alu IF MAN, ut Trinity College, Cambruge 1 sol te with vignette title, Bu. cloth lettered. ('onimo as bate-insurance has non lerome, the present amount of riputal Ro in sestrd 1 frifing compared the white will be the chest principles are litt tre retour It is, in latt, ma limited rn, une preturato mathon, aurremento, ommunity to runwider the fouls of it muual menus IN (onim tin an wetermeut out there whole fortune at Van 11 love to have nuori tutn der.sgp xuc **, Halldrysąn the overplus in invour of the wlio bure Jesa And though, an vet, it has only txun veslord to the reparation of the evils arising from strit, fire, prumuturr death, capuse, unel Inge", .. the is 110 pl. a limit in the extension watch ita apple Htun might momente, li the oublic were bully anure as it princyles, and of the sufety with whul they my be put in practice Noturot probability und ta menurment APPET. Province of Mathematis with regard to .t, Reply to obey tions. Ultimate chances of gain or lost at polny, with Dret pr. wbilities .. parlanlar application to the game of Inverprobunity. Rouge et Noir Risk of low or in. Rutt for letrennwg the value of successive ('ommon DOTIMA with rrgard tw pi-bability. livcom.cl of Errors of obwrvation, and Copyliul estate. who mistake Rule' for detrriming the probability of surprolbullt es to lifr-contın- Barslur genews. Average result of uumber of obtiam annuities, and other money contingencies. nur of rey Hons and insurance Metl of calculating decreasing or increas- Nature of the contract af insurance, and tag nanuities, mkn of insurance-ofHces in Amerul Question connected with the saluatay. the Adjustment of the interests at the different ismets of an inguruni c-office. Members in an insurance vfhce. Applu at: utun .

·10 DISTINCT WORKS COMPRISED IN LARDNEB'S CABINET CYCLOPEDIA. 0 Natural Philosophy, 8c.r-continúed. LARDNER'S CEOMETRY. Arrati nn Grometry, and appliation to the Arts Ny Dr. IRHDNER. I vol. fep. Afo. with vignettr title and upwards of 26) Agures, ils, clut lettere It has been the rndeavour of the author, w the pureut treatise, to supply such views of grometrv naill I found useful to those clash who, while thry do not pursu geuinptry as a mere intellectuu l-xelse, are capable, nevertheless, of appre satang itu oleuting and certainty, and are uy villig to receive a proposition as true without a pront of it, where a lot was twahtuned, used who, on the other hand, also delight to contemplate some of the most important useful purposes to wluch the abstract principles of the HeH'Tcr have been applatu. LARDNER'S ELECTRICITY, MAGNETISM, AND METEOROLOGY, • Manual of Electrw'ity, Mynetism, rund Meteorningy. By D LARDNEN, DC.L FILS &r. 2 vols. with woodcuts. Vol 1 top kvo with vignette title, 66. cloth. Vol. Il in the pirn Arts and Manufactures. 16 0 PORTER ON THE MANUFACTURE OF SILK. A Trentint on the Manufacture of Silly 1G. K PONTYR, FHq F.ILS Author of " The Irog" of the Nation," &c. I vol fep. Hvo. ('vith vignette title and 39 wood-engravings, bis einth lett d. PARTI. HEBTORICAL ACCOUNT. Ilistnt, of milk to the pared when will wortne Trrule of forcygn countries in Milk were first introduced intn Europe Irogrew ide un Englund in the manufacture Altrimplan to urduralize the silh wawrm in tis. *) Ind tride in silk., PART II. time ' '111er or dilx. On the culture of the moulurry tree. Decakes of wilkworms Deuription of the walkworm Alta mpts to suimtitute other food for mulberry Moule of rearing Alkworms in China leaves Europe. Attempts to produce silk from different animate Gutheru: and sortin, Cocoone, creatures PART III ON THE MANUFACTTHB OF Silx. Reeling. Farurr Wearing Gauze. Throwing Mechanical or power weaving Hromach. Tun weaving Velvet Damask, &c. Cherk.cal, Medical, and Electric Properties of Mix. PORTER ON THE MANUFACTURES OF PORCELAIN AND GLASS. A Treatme on the Manuth-tures of Porcetuin end Gler. By G. E. POUTER, Esq. F R.S. I vol. fep. Art. with vigaette title and 50 woodcuta. Un cloth lettored. PARET PORCELAIN ANUFACTURE. Historanl notice of the side and pogress of On the formation of utente. potteries and the porcelain' manufuc (In the procenPR of.firing and glavlag. ture. On the art of applying colours and engravings General decription of ingredients used in the to enrthenware. manufacture. (on the manufacture of tohurin-pipes. On the preparation of material: On the purrelain manufacture of China. PART 1). GLA MANUFACTIAE. om the nature and properties of ANH. On the manufactur or glans from cnlcined bones. Ibetary of its invention and manufuture. On the one made of the blowpipe, and on various Of the vurious ingredients employed in small manufactures of glass. making glans. On the formation of lenses. On the the construction of humare, &t. In the principal defrets observable in glaan! On the manufacture of fint glass. manbefactore of crowa glass, Om the specific grauity of glass On the art of colouring glasa. Brond glans, and On the art or staining and painting plans. in the art of cutting, graving, and evening on the mapufarture nf plate glans on glas. On the composition of artificial gema. On the deritrification o. glays. 21 On the ·11 DISTINCT WORKS COMPRISED IN LARDNER'S CABINET, CYCLOPEDIA. Arts and Manufacturer-continued. land. Files. Stoupa. Bryn. MOLLAND ON THE MANUFACTURES IN METAL. A Trentise on the Manufat wurde in Metal. Ry Jons HOLLAND, Faq. 3 vole. fop. 8vo. with vignette titles and about 300 woodcuts, 14. cloth Jetle od. VOL. I. IRON AND STABL. • Introduction. Anvils Blarksmiths' work. Steel forging. Iron Works in Eng Anchora Chains. Steel hartlening (hin lirulgra. Nแปล. Steel tempering Smeltungt Rollwg iron STEWA. Steel plats for an Can iron foundery. Boiler plates parables. Grinding. (Araving. Iron. Manerladenus urticle.. Nivel. Muddling, Iron plating. Alloys of steel. Falge-tools. The forge Railrouds. Naturul strel Suws. VoL JI MACHINERY AND MANUFACTURER. Onginal cutting in- Fire Arms. Copperfiles and other Locks. struments prennes. Wewlung machine Interchangeable un l're graten Hand-malla. Miscellantes. of instruments of Iron printing machu Mangles Wire drawing agriculture, & mery. Chuff cutters. Wire-WOENING. Miftary weapons Needles. VOL. 111 THY, LEAD, COPPER, &c. Ta munes, Britannin metal. Lac urred brass Watchm. Spelting. Type fonnery wurk. Brass tuys. Tın plate working Copperminen Lamp. Pins I. Smelting. Hruan tubes. Precious metals. Manufactured lead. Manufurtured copper. Turning. Plate working. Pewter. (des ptical instruments.. Metal huttumus Zinc. Brass or bronze foun- 1 Clocks. Coming JONOVAN'S DOMESTIC EXONOMY. A Trentis on Domratur Fronomy By M. DONOVAN, EX MRI A. Professor of Chemistry to the Company of Apothecaries in Ireland. 2 vols, fep. Hvo. w.th vignette titles, 128. cloth Icitd. In conformity with the general plan of the CABINET CYCLOPÆDIA, the author has endeavoured to render lun explanations of cars complete in the mivex, and as lihle w nowyble dependent on the presupposed scientit acquirements of the reader. With a moderate share of general information, and occasional reference to the author's ". Trratiar no Chemistry," he trusts that the prosent work will de intelligble, and that it may, attain tends proposed by disusing, knowledge at per PSA in which every connumer of the mout ordinary articles of .ood and drink w directly interested. VOL. I. DAJNXA, &c. CELAP. I. History of intoxi Cor. 6. Cewing. Atennation cating liquors. Mashing Storing, &c. 2. Cultivation of bar Grinding. ley intrnded for uring matter lopping. Domeuticbrew & Nature and const. Cooling & tut.on of Seeds. Fermensction in CRAP. 7. Distillation 14. Milting A Wine-milking. 5. Theory of fermen- 9. Vinegar-making. tation 10. Baking VOL. II. ANIMAL AND VNETABI FOOD. Chap. 1. Appetite GIAP. 6. Los of weight which animal food kuatains in roasting, &c. Cruelty to animals ». Use and abune of animal food, and . 2. General Obwrvations on the animal ito differunt qualities. food of difforent nations 7. Account of vegetables wwed as fond by 3. Account of damals wed ns food, the various nations. 4. Procesmen to which animal food is * 8. Some properties and affections of the subjected to fit it for use. organs of taste. Water. i Boiling malting ing, &c. the tun. Cleanning. 3 gמתוF Epicu ista.

·12 DISTINCT WORKS COMPRISSD IN LARDNER'S CABINET CYCYOP EDIA. Natural History. SWAINSON ON THE STUDY OF NATURAL HISTORY. A l'relimin*y, Discourse on the Study of Natural Tintory. By W SWANYON, Eaq FN.S.L.S I tol fir mio with vignette title, price on. cloth lotterid Jr L'ART 1. kip and process of roology. trony Ty wluch the natural stem 2. On 17 generalamatore and allvanmay be descloped 1.117 of the sturty of natural PART 4. On the present state of zoological htuiry ncr in Great Britain, nl op 3 On thr mireplik on huh natural thr mane bent curulated for la story chies for it fik (Pawful it intouragement and cxtenpruse'ution, iad le considerat- NO. - 4. pwrlupa SWAINSON ON THE HAS'TS AND INSTINCTS OF ANIMALS. the labits and Instints of Animals 13 WILLIAM SWISSON, Esq. I sol tep, Avo. with vynette' title and wouluth, UK loth lettured. (IN THE INNTIACTS OP TIN AVIMAI. WORLI As different from human ri'.LAON Various instances of instinct ON TIE SEXSFS 01 ANIMALS On the different senere na developed it all Crncial remarks on those of the vertebrated Hiei lannen of unum ht. Vitility of animal. Direet ju les indicted Om imperfect skirtien * Farmitton of another." animills mly On the passions of turtals Indirect in Wely odleting of ani, am the notion of animals On thir hylernation, torpa mills On the insulfonce postv, and muration of Luminous animals, werd hy annuly an unas 4 SWAINSON ON THE CLASIFICATION OF ANIMALS. A Treater on the Natural llistory and stann of animals. By WILLIAM SWANSUV, Esq. 1 vol frp Hvo with notte tille, He cloth letrared L'ART 1 On the cography of animals Par A familia cxplanation of the first 2. On the risk ind powieks ul systra principles of practical nnd cientific Katur roology. 2ology, within ins for a 3. On firt principle of natural plan of studying the detuule uf euch clasification. de partount SWAINSON ON THE NATURAL HISTORY OF QUADRUPEDS. 1 vol tepo. To withs, title and 176 wonder os, on eluth lettered l'an 1. OL: great divisions of organizel funf2. On the natural luntory of quadrupede mutter and on the relations with 3. The clan Mammalın arranged alcoriqu.urupedulare to other on Is its unter Antiey, of the uninıl kigydom. 5 SWAINSON ON ORNITHOLOGY. ! a 4 . . with vignette titles and above 30 hond'.'ut4, 128 cloth latterest Paar). On the structure und natural burstory L'AW. 3. On the natural story and relatons of birds in general . of the different ordet, sıbey, and 2. On the hallmography, nom luture, milies of his and preservation of hurds 4. Synpes of a natural arrangement of lind SWAINSON'S HISTORY OF DOMESTICATED ANIMALS. Animals in Menageries. By W swysox, Feq. I vol. fop. Avo. with vignette title and numerous womicut, fi Cloth lettered PAR puogerir of quadrupeds, contain. I'ART 2. On luymg or dampsticated hinis In aceounts of Ainuty-eight able for aviaries or pr(WTVCR, conspecies. taining accounts in species.

·LARDNER'S CABINET CYCLOPÆDIA. on, Will Mone remasky on col- DISTINCT WORKS COMPRISED IN 13 Natural History - continued. SWAINSON ON FISH, AMPHIBIANS, AND REPTILES. On the Natural IINtory and classification of 'sh, Reptiles, &c. Hy W. SWAINSON, Esq. 2 vols. tep.bio, with vidette titles and numerous woodcuts, 12 cloth lettered. The nature and relation of monorardan The nr plubians anunul, and more exully flies The reptiles .A sketch of the lumtury, and lubbenply of The moodules, tortoises, and fint lizards The serpente and promrving fist The lizare The systematic anangement of fisheb. The characters and descriptions of sixty-two The naturl.ingement of fishes. new or little-knwn perics Th various orders of fishes &c. &c. &c. * SWAINSON ON INSECTS. The Tintory und Natural Arrangement of Innects By W. SWAINSON, ER &W.E SHUCKAND), l'hy. I vol. fup. Kiu. with vignette title aud wondruth, Os. cloth lettered. SWAINSON ON SHELLS. A 'Treatine on Mnlacology, or, the Natural ('Insification of Shoe And Shell Fiol. By W SWALA YOY, l'ing. I ul. fep mo with viguelte title and very numerous allub.rutions un wood, 64, cloth lettered l'aur 1. A general sway of the trentaceous powing the onera ganteropoda and mullund Dithyra of the cluny Tentacru. .2. A natural arrangement of the ni Explanatnu of term used in describing valve pud bivalse shell-fislı D1- the shells of truceous Diolusu. SW...VSON'S TAXIDERMY AND BIBLIOGRAPHY. Tratin' on 'I' xulermy. th the Biography Jolugit, und Notice of their work. I vol. tep Wro with lotut of the Authoz, Ch. cloth lettered. PAUL 'Treatise on l'aidete l'Akr 2 The bllograplıy of zoology, with bio- On collecting relegten bubjects ginpluent Nketches of the principal On pretuing thru zoologista. On the formation and arrange mint of collection * PHILLIPS'S GEOLOGY. A Train on Geology By Jour PITILJTA, F.KS.G.S 'forsorgf Geology in King's College, condus ? vol, fej. Hvo with vigtette tiles and numerous woodcats, 12. colletlered. ('14p. 1. Introductory View Cuar. O llytorical view of the stratified rocks 2 General reemings concerning the in the rrunt of the cath. Sulistance ol the globe. 7 lnutritiimi roka. 3. General truths conrrning the Mineral veins. trurture of the external parts of 9. Mode. ** of heat in the globe. 10. Stutr giological theory. 4 Sney of stratifier rocks. 11. Popular view and pe www.dxal appli. 5. Orxunm remains of plants pod cations of grology. ubunals. HENSLOW'S BOTANY. The l'rinciples of Duscriptove and Physiolog nl Dotady: Ry J.S.HIENSLOW, M.A.V.L.S. &c. &c. 1 voltep 810. with vaguette title and decly 70 walcuts, 6e. cloth lettered INTRODUC110x PART I. DEILP1va BOTANS. Suc. l. Organogruplo, ind Glowa lugy. I c. 2 Tonomy and l'hy tography, PART II POJEOLOGICAL BOTANY. A the glulut ·14 DR. LARDNER'S CABINET CYCLOPÆDIA. LIST OF THE AUTHORS. • In General Jileratune, History, & Biography. In Science, Natural Philosophy, Natural History, oc. . 4 SIR JOHN HERSCHEL. SIR DAVID BREWSTER, LL.D.F.R.S. THE REV. B. POWELL, M.A. F.R.S. Savlun Profeshur of Geometry in the University of Oxford. V. LANDNER, LL.D. &c. Ce PT. KATER, r - Uk THE Rr. HON. SIR J. MACKINTOSH. SIR WALTER SCOTT, BART. THOMAS MOORE, Esq. THE RIGHT REV. DR. THIRLWALL, Bishop of St. David's. Mons. J. C. L. DE SISMONDI. 1 ROBERT SOUTHEY, Ese. SIR HARRIS NIC. LAS. JAMES MONTGOMERY, Esq. G. P. R. JAMES, Esq. THE REV. G. R. GLEIG. THE Rev. DR. STEBBING. W. D. COOLEY, Ese. THOMAS KUIGHTLEY, Esa. VIENRY ROSCOE, Esq.' JOHN FORSTER, ESA... MRS. SEGLEY THE Rr. HƏX.T.P.COURTE.CAY, Br. W. WALLACE, E8%. ROBERT BELL, Ese. THE R.-Y. H. FERGUS. E. E. CROWE, Esq. T.C. GRATTAN, Esq. S. A. DUNHAM, LL.D. &c. THE Rev. T. FOBBROKK. JOHN PHILLIPS, ESQ. F.R.S. u.3. Professor of Geolusy a King's College London. AUGUSTUS De Morgan, Esa. or Trinity College, Cambridge; Profor of Mathorities in University Co lege; and Secretary of the llogas Astronomical Society. W. Swainson, Esq.F.R.S. Ž.s. W. E. SHUCKARD, Esq. Librarian to the Royal Society. 04 -- M. DONOVAN, Esq. M.R.I.A. Prules.or of Chemistry to the Company of Apothecaries in Irelas. 1. al G.'R. PORTER, Esq. F.R.S. Author of "The l'rogress of the Nation 1 . John HOLLAND, Esa. THEREV.J.S.IYENSLOW, M.A.F.LJ. Profewer of Botany in the University of Cambridge ·Di. LARDNER'S CABINET CYCLOPÆDIA: ALPHABETICAL CATALOWUE. 64 40 . 04 Pulorophy ... 14 60 Page Bell's Fleatory of Ruosia..... 3 vols 14... 9 Ltres of British Poets .. 2 old. 125... 6 Brewster'i T'r we on Optics. I vol.. Bo... 8 Coolpy's wory of Maritime and Irland Tyronery .... 3 vols. 248... 4 Cqwe'll lentury of Franır.... 3 vols. 188... 2 De Morgan's Treatine on Proabilities.... 1 vol. 6... 9 L Sismondi's History of the Italian Republica I vol. . 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·DR. LARDNER’S CABINET JICLOPÆD'A, $0 110). «C LE vol. O vol. England mire Gr Dr. Lun: ennety, its application A SYNOPTICAL TABLE OF THE CONTENTS (TU BE COMILETRD IN THREE MOLLE VOI V1.64.) Fop. 8vo. with Vignettes, price 68. Cuch volume, bound in cloth. ARTS AND MANUFP STURES. Titles. No of VOR. Volk of wie Serres. Authors. Bit ring, Baking, Croking, &. 2 volt, Profesor Ilonovi. Mannfartures in Metal 24, 42, 14- J Hollini I'orrelun ind Gus 1 vol. G. R l'orter. Sulk Mufacture 1 vol. GR. Furter. BIOGRAPHY. Author of Franc 2 vols Mr Muelley, &e Italy, &c 3 vols. 633, 71, 96 Jntgonwry, &c. Britiru Drumutints 2 vols. Dr. Tanlı m, &c. Tanpinn. H. Rose. Military ad Commnnders 25, 28, 36 Rei G R Clog. Naval Comandes 17, P7, 182 R Soutbey & U. Bell. l'et - 2 von R Bell. Statemen 7 vols. 78, 91, 99, 101, 10, 116 - Forster, &e, Early British Writor yol Dr. Dubam, & Foreign Stntrumen - 5 vols. 46, 76, 82, 89, 102 G 1'. K. Jame, &c. HISTORY. Chronc'ogy of History ] yol Nr H. Nicolas. The (hurih. 2 vols. Dr Stebung. Thenmark, Sweden,& Norwny olm. 110, ult, 122 Dr. Iunluan). 10) vuln. x 14,37 62, 69, 41, 9.5 Mackintosh, &c Europe during Muldle Ages - Ayol 4., 53, 6810, 113, 12 Dr Dunhun. 3 vuls 1, 13, 23 EL (Crowe 3 G), 6, I'r. Tunha 70 ker 1 Iunke, &c. & vals 74, HO, HA, 103, 114, 125 Irrland ,121 - Italian Renullues 1* Maritime the overy 2, 11, 16 - W D (cles. Netherla TC.6-ittan. Ohutline'n of History 1 10 Thrichtly. Poland - ved. Dr. Ihnutn.. Refpation ? 14. Dr. Stebbing of the Kunjan Empire \ vols IDenonci. Home 2 ulu. Rassin : 3 volg 7, M5, 100 Robert Bell. Seutlund fi alten Scott. Swin akut Portugal 5 niya, 29, 31, 33, 35, 3H Dr. Inu lam. Switzerland. 1 o United Stata 2 vols | Rev. l' agua. NATURAL HISTORY. Preliminary Dracourse I vol. W. Swainson, Gengrupy terlammf.of Animals 1 vol. W Nunnon. Habits & Lawlinets of A I rol W. Swainson. Animals in Medaginn 1 vol W watson. Birda Batany Isol ol Rey, J N Henalow. Amphibians, & Reptiles W. Swainson: 97, 119 Professor Phillips. Inner: W Swallosun. Quadrupeda - W Swainson. Shells and Shell-finh I vol. W. Swanson. Taxidermy and Bibliograplay 1 vol. W. Swinson. NATURAL PHILOSOPHY. Preliminay Discourse 1 vol. Sir J. Werschel Arithmetic lv Dr. Lurdner. Astronomy 1 Sur J. Hershel. Chemistry 1 vol. Profurse Donuvan. Electrialty and Magnetisni 2 vols, Dr. Dr. Lardner. Hwtory Professor Powell. Hydrostatics and Pneum ion i vol. Dr. Lardner: Merhad Kuter and KAR 1 vol. Sur D. Brewster. Ecosy on Probabilities . 1 vol. Perfensor De Morgan. vals. 2 vols. Volg L. I woul *អន ខ្ញុំ ខ្ញុំធីទី២រ ដ ើ ដ ១គីទីនី “ឱក ឱគ្គទីនថ្មី ៖១៥ន្ននិន។ Fallo! 2 vols. 2. ls. W. Swain. 2 vol. 1 vol. 1 vol. vol: ol. vol. 1 vol. 1. ol. is Wilson and Ogilvy, 67, Skinner Street, Baowbill, London.

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