Elements of art, a poem; in six cantos; with notes and a preface; including strictures on the state of the arts, criticism, patronage, and public taste

Canto Sixth, LONDON

PRINTED FOR WILLIAM MILLER, ALBEMARLE-STREET,

BY W. BULMER AND CO. CLEVELAND-ROW,

ST. JAMES'S.

Preface

1 he Following pages contain, in six cantos, the three remaining books of a poem, which was printed some time since, under the title of " Rhymes on Art. "

Why the present publication has been so long deferred, after the indulgent reception of that little essay, may perhaps, be thought to require some explanation ; though it seems rather unnecessary, to account for the late appearance of that, the non-appearance of which at all, would probably, be as little remarked as regretted.

The Author however, owes it to those who have honoured him by enquiring for his work, as well as to his own feelings of gratitude for the liberality which he has experienced, to say a few words on the subject : particularly, as the delay seemed to strengthen an impression, which

Vl PREFACE, some persons were not unwilling to receive, that either, no more of the work existed, and the idea of a continuation, was suggested to divert the attention from its evident incompletion ; or the Author feared to risk in a second adventure, the little credit which he had obtianed by his first.

The Author is willing to flatter himself, that those who know him, will acquit him of the artifice expressed in the one, or the apprehension supposed in the other of these imputations. The defects which he cannot excuse by candor, he will never attempt to cover by finesse ; and he hopes, he is not so far blinded by his vanity, to the true character of the little commendation he has received, as to mistake the marks of indulgence, for the stamp of desert.

The whole of his work had been composed for a considerable time, before the Author formed the resolution, or found the opportunity to revise a part of it for the press. When he published " Rhymes on Art,** and for some time afterwards, he certainly, from the confined nature of the subject, as well as from his distrust of the skill with which it was treated, had no expectation, that the reception of his little volume would

PREFACE. VII

be such, as to induce him to bring forward the larger portion of the poem which remained. His manuscript therefore, lay by him untouched, till the kindness of the public encouraged him to think, it might be offered to their perusal without the risk of imprudence, or the charge of presumption.

When however, he commenced the task of preparation, he found, that the occasional leisure hours afforded by an arduous profession, though they might suffice for the composition, were not sufficient for the correction of an extensive work. Rhymes are something like recruits, which may be raised in all situations, but to fit them for service, requires the convenience of a parade, and the discipline of a drill. He was therefore, obliged to postpone the printing of his book, till circumstances should enable him to devote a month or six weeks to its undisturbed consideration

The autumn of last year, furnished him with the first opportunity, of which he could avail himself for that purpose, and he now submits to the reader the result of his revisal.

Some introductory lines have been added at

Vlll PREFACE.

the commencement of the first canto ; and the name of the work has been changed, out of respect to those liberal critics of the former volume, who judged so favourably of its merits, as to think it disparaged by the title.

When the Author considers the nature and extent of the design, which he had originally proposed to himself, in writing on the subject of his art, he feels, that he has but little claim to that measure of modesty, which the " humility of his title" has been supposed to display. In the ambitious arrogance of youth, he had projected a work, of which, to have thought himself equal to the due execution, certainly argued as little diffidence as discretion.

In one poem, of four parts, he had intended to treat at large, of the rise, progress, present state, and principles of painting. The first part was to have unfolded its origin, progress, and perfection amongst the ancients. The second, its revival and advancement amongst the Italians, Flemish, and French. The third, its rise, progress, and present state in Britain ; and the fourth, was to have been devoted to a didactic essay on its principles and powers.

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Upon this plan however, the Author had not proceeded far, before he discovered, that his ambition surpassed his ability ; and that he had neither learning nor leisure sufficient for the task which he had proposed. The subject so branched around him in ail directions ; such iC a swarm of topics settled on his pen," that he shrunk from his undertaking, contracted his views, and contented himself with attempting to erect a small didactic lodge on the site of the poetical palace which he had projected.

The volume therefore, which he now presents to the public, with that which preceded it, completes the project of his humbler hopes ; although the two, include but a small portion of his original design.

Notwithstanding that the Author expressly stated, in the preface to Rhymes on Art, the didactic nature of his poem, he finds, that of those who have done him the honour to think of it at all, the greater number expect, in his present work, a continuation of " the remonstrance of the painter," and look for nothing but satire, expostulation, and complaint. But though he is fully convinced, that a theme so prolific as the frivolous

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pursuits, false taste, and pedantry of the day, might well run unexhausted through two volumes of ridicule and reproof; and though he confesses, he could behold with some satisfaction, the ludicrous writhings of folly and vanity, under the operation of those wholsome correctives ; yet, he is far from supposing himself qualified, to administer such a persevering castigation.

Whatever appears in his work of a satirical character, is incidental to it. His plan is preceptive ; and though he has occasionally, ventured to let fly a few shots at the enemy, when they came in his way, he by no means intended to come to close quarters, or presumed to call the attention of the public to a pitched battle, in which his prowess is but little calculated to contribute to their sport. His rhymes, like raw levies, can be safely employed only in distant skirmishing, and are not fit for a general engagement.

Concerning the contents of his present volume, the Author has but little to observe : as the title announces, they refer principally, to those early periods of study, for the direction of which, former writers, have in a great measure,

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neglected to provide. His work has no pretensions to be considered as a regular treatise on painting ; nor does it aspire to instruct the enlightened Connoisseur, or the accomplished Artist. To the undisciplined tyro of Taste he would address himself: he takes up the student in the weak and helpless moments of inexperience, when, an infant in the nursery of Art, he begins to feel his feet and moves in tottering apprehension : when all is doubt and indecision — eagerness without object, and impetuosity without force or direction. He would, in short, furnish the young painter with a guide, of which, at a similar period of study, the Author himself experienced the want: a guide, which though it may not secure him from error, or conduct him to excellence, will at least tend to open the country to his view, to lead him in the tracks of common sense, and stimulate his powers, if it cannot strengthen them.

Minds occupied in the pursuits of Taste, are peculiarly subject to intervals of weariness and depression. The strongest powers cannot always bear up against unexpected obstructions ; or preserve an equality of ardor amidst the vicissi* xii preface;

tudes of hope and despair. For this occasional lassitude — this intermitting torpor of the faculties, the most effectual remedy, is perhaps, found in books, or conversations on the subjects of our study. Through these mediums are discovered, new lands of promise, new springs of hope, and fresh sources of consolation. The menial powers are still busied about their most important objects ; they are refined as well as refreshed, and exercised even in the moment of relaxation.

Amongst Artists, there is not perhaps an individual of talent or feeling, but will confess, that he has never risen from the perusal of a rational work, or the enjoyment of a liberal conversation on the subject of his art, without finding his emulation excited, his ardor rekindled, and his resolution new strung. The confidence of the painter in his own powers revives, in proportion as he discovers, that embarrassments which he supposed peculiar to himself, are common to all ; that others encounter the same difficulties, and suffer under similar apprehensions ; soar like him, in elation, and sink like him, in dismay. His genius is warmed with new zeal, and wound up to a higher pitch of enterprize ; he

PREFACE. Xlii returns to the charge with redoubled alacrity, till newefforts produce new languors, and expectation again subsides in despondency.

Considered in this view, the biography of eminent men, the works which treat of art and science, may be said to be useful, even when they cannot be considered as deeply instructive : they keep up our ardor at least, if they do not increase our information, Heroes have been roused to arms by the recounted exploits of a Turenne or a Marlborough, and the playful garulity of Richardson is reported to have awakened the genius of a Reynolds.

Productions of this kind, when they contain no gross or dangerous errors, will always employ to advantage the hours of leisure and lassitude, and often effect as an amusement, that benefit which they fail to accomplish by instruction.

Upon which of these grounds the Author will be allowed to rest his claim to the attention of the public, or whether he may not be thought deficient on both, it is not for him to anticipate ; he fears however, that the didactic poet who does not succeed in amusing his reader, will teach him to little purpose.

XiV PREFACE.

The present essay, is intended but as preparatory to a higher course of instruction — as introductory to the study of a Fresnoy, and a Reynolds. The Author considers himself only as the humble usher, to conduct the student into the presence of those, who are better qualified to be the guides of his maturity, and the models of his imitation.

To enliven the dulness of continued precept, and add variety to illustration, characters have been interspersed wherever the subject seemed to admit of such assistance. But however it may diminish the interest of this part of his work, the Author must disclaim here, as he has disclaimed in his former volume, all intention of pointing to individuals,

Since the days of Theophrastus, to the present moment, no man has ever sketched a character, however arbitrary or fanciful, without being supposed to have had a model in his eye, and to have painted from nature, rather than imagination. This seems a consequence inseparable from the nature of the case. It is not easy to cast a censure that will not stick somewhere, or to strike at a defect without hitting

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somebody ; and if a single feature can be tortured to a resemblance, malignity never fails to appropriate the whole face. To strip off the supposed disguises of policy; to penetrate the artful coverts of allusion, and drag a lurking likeness into day, is a gratification of spleen as well as an exercise of sagacity ; and satire is perhaps never more acceptable, than when we think we have fixed its point, and can fasten upon an individual that which belongs to the species.

The Author has endeavoured to disappoint, as far as possible, this kind of malevolent ingenuity. The integrity of the moralist however, would be but little commended, who should refrain from censuring the vices of his time, lest the guilty should suppose themselves glanced at. Duty is the last sacrifice that should be made to delicacy ; and we shall in vain attempt to vindicate the right, if we have not the courage to condemn the wrong. He who offends against the principles of morality or taste, has reason to think himself fortunate, if he be allowed to escape in a general censure ; if, in

XVI PREFACE.

the vigilant animadversions of the pulpit or the press, he be not singled out as an illustration, and satirized as an example.

In the names of his characters, as well as their qualities, the Author has carefully avoided everything that might be construed as a personal allusion ; he has personified particular defects, not satirised particular person's. Thus the bigotted votary of design and outline, he represents in the character of Timanthes ; the advocate for colouring in that of Panaeus ; the undiscriminating follower of nature, as Euphranor ; and the prejudiced worshipper of the antique, in that of Torso : ascribing to each, such defects in art, as experience proves, to result commonly, from his peculiar prejudices.

This principle has governed him through the various characters, which he has attempted to delineate ; and the members of his profession will readily believe, that, had he been disposed to turn poetical portrait-painter, however he might have succeeded in the picture, he would not have failed in the likeness. Indeed if he thought the following pages contained one

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character which could be justly considered, as intended to describe an individual, he would not hesitate to blot it from his book.

In the present, as well as in his former publication, the Author has been tempted to enlarge occasionally, upon the subject which first emboldened him to appear before the public in a literary shape ; and the just claims of the Arts to participate in the patronage of the State, with other objects of utility or glory, are discussed freely, whenever the natural course of his reflections afforded the opportunity.

In a preface to the second edition of Rhymes on Art, written in 1805, the Author, while offering a just tribute of acknowledgment to the liberal Founders of the British Institution, observed, that " there would be reason to regret should the Government (in consequence of their exertions) hold itself exonerated from all interference in favour of the Arts."

This observation proceeded from the conviction, that the public feeling was not sufficiently alive to the importance of the objects which occasioned the formation of that establishment, to co-operate effectually for their attainment.

b

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If, at the time when this remark was written, any doubts were entertained as to its justice, what has occurred since that period, must have served effectually to remove them. When we consider how little the zeal, the example, and the exertions of those elevated and enlightened characters, which have interested themselves in the success of the British Institution, have been able to effect, for the advancement of historical art, it is impossible to resist the conviction, that unless the Government can be induced to shew some sensibility towards their interests, the Arts, as liberal ornaments and moral agents, as instruments to promote the refinement and preserve the fame of a people, must, at no very distant period, be utterly extinguished amongst us.

The founders of the British Institution are justly entitled to the regard and gratitude of the Artist, for their exertions in his cause: they have rescued him from the illiberal prejudices of the collector, and the interested depreciation of the picture-dealer. That few are inclined to encourage the productions of modern Art, is an evil, which they perhaps, have not the power

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to remedy ; but that no man's taste is now interested to decry them, must be attributed entirely to their influence.

After the experience which they have had however, these enlightened friends of Art, must be convinced of the utter inadequacy of their present plan, to effect the objects for which their establishment appears to have been formed. What we had a right to expect, in times like these, from the unaided efforts of private liberality they have performed : and if persons of their high rank, fortune, and station, zealously co-operating for the advancement of art, can offer no more powerful stimulus, to the historic genius of the country, than a possibility of sale in the British Gallery, or a chance of gaining a prize of fifty pounds; wh:it hopes remain for the pencil of him, whose unaccommodating ambition will not allow him, to toil for six months in imitating the bloom of a peach, or the twill of a Turkey carpet? What more decisive proof can be desired, that the resources of private patronage are exhausted, or diverted to other objects ; and that to the interference of the State only, the eye of Taste can be now directed,

XX PREFACE.

either for the proper stimulus, or the adequate remuneration of Genius ?

But the patriotic zeal of those who have stepped forward in favour of the Arts, will not be checked by difficulties, which their sagacity, from the apathyof the public in matters of Taste, must have in a great measure anticipated. They will not suffer to be frustrated, the benefits which they have proposed, nor the hopes which they have excited. They will add new levers to the machine which they have so honourably set in motion, and at length, stir those powers of the state, which have been so long immoveable by every other application. After the exertions which they have made, it is impossible to doubt of their zeal ; and when their rank and consequence in society are considered, their influence must appear as irresistible, as the cause which calls for it is worthy of their protection, and important to the character of their country. Wherever, in the following pages, the Author has touched on topics connected with this subject, he has spoken his sentiments without reserve. He who has no personal views to promote, under the mask of public objects, has no occasion

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for management, or finesse, and should scorn to degrade his cause by adulation. He would not dishonour the Arts by urging their interests in the whine of supplication, What they may not. claim from the wisdom of the statesman, they have no right to expect from his generosity; and if they cannot propitiate his patriotism by their deserts, they should disdain to plead as paupers to his commiseration.

If, amongst the various discoveries of modern times, our sagacity should have at length found out, that the Arts have no pretensions to the consideration or protection of the state : if the policy of every great statesman, from Pericles to Maecenas, and from Maecenas to Colbert, be now perceived to be erroneus, if it be no longer deemed the duty of those who direct the affairs of nations, to bestow a thought upon the cultivation of Literature and Taste, — to call forth the genius, or consult the reputation of their country : if all that can ennoble the nature of man, or immortalise the memory of empires, must now be cast into the vortex of vulgar interests, and left without an effort, to sink or swim, in the gloomy tempest of politics and party, the victims of

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Taste and Literature, cannot be too soon acquainted with their fate, that they may humble their hopes before the wisdom of their age, and prepare for contempt and degradation.

But some of the Author's more prudent brethren will call this, indiscretion ; will again, as on the occasion of his former work, with a grave face lament his rashness, and prophesy with great feeling, that no good can arise from it to the Arts, and much evil must result to the Author. To these wary sons of circumspection, who even think in way of trade, and never speak but on speculation, the Author certainly owes no deference, and desires from them no commendation.

Selfish and servile, they are insensible to the public claims of their profession, because they are conscious of no public spirit in themselves. They would petition for the Artist, but would not expostulate for the Art. They would solicit without dignity, what they would receive without desert, and abuse without hesitation. They would calumniate the genius of our age, and sacrifice the best interests of their Art, for the pleasure of decrying the credit of those, who

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have the spirit to defend them. To gain the smile of a great man, or the chance of a commission, they would take part with all the prejudices of Taste, and prostitute the name of patron to every picture-dealer of the day.

Whatever may be his faults or his feebleness as an advocate, the Author has the satisfaction to reflect, that the cause has not been injured by his means ; and as the patriotic anxiety of those pupils of policy, must be now somewhat allayed on this head, it is to be hoped, that their sensibility will not suffer much from a consideration of those ill consequences to the Author, which they have so kindly suggested. He can assure them, that he has no fears for himself, and if the adoption of their sentiments were to be made a condition essential to his success, he would spurn the degrading stipulation, and exclaim,

" Let Fortune do her worst ! I cannot choose " To prosper in such company."

They whose taste and liberality the Author respects, and whose approbation he zealously desires, will know how to distinguish between

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the honest warmth of him who pleads for general interests, and the smiling hypocrisy of those who study only their own.

But he who cannot make up his mind to neglect and discouragement, has no business to be, in times like these, a poet or a painter ; and as the Author's perverse ambition has exposed him to the disadvantages which attach to both those characters, he will not, if it should be necessary, shrink from the consequences of his folly or his fate.

He is however, sheltered in the mediocrity of his pretensions ; as he does not aspire to the honours, neither is he exposed to the hazards of those, who dignify by daring enterprize, the pencil and the lyre. His humble efforts with these instruments will not suffer in the estimation of the public, from the zeal with which he has ventured to advance the claims of those who do more credit to their art, and deserve better of their country.

If the liberality were at as low an ebb as the patronage of the day ; if the Arts, in their best interests, were not only neglected and disre-

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garded, but even their complaints were to be repelled as offensive and their advocates considered as presumptuous,

Why then 'twere time to seek some humble trade, To seize the plough, the shuttle, or the spade ; To rush from scenes by fear and pride debased, And leave to sycophants — the curse of taste.

If the Author did not dread the evil of a long preface, he would be tempted to say something in excuse for his long notes. They certainly have far exceeded his intentions, and appear too often, rather as principals than appendages. A little more experience of the press, would perhaps, have enabled him to calculate better, and compress his annotative exuberance within the limits of typographic propriety.

A distinguished writer of the present day, (Mr. Cumberland) has so strongly condemned the practice of writing notes, that the Author. who will, he fears, be found an unconscionable culprit in this respect, would shrink before the vigour and variety of illustration with which that censure is enforced, if he had not precedent to plead in his defence. To say the truth however, he has not much respect for this

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species of justification, and if no better can be drawn from the nature of didactic works in general, and the advantage of support and elucidation, which the subject may receive from this kind of running accompaniment, he must without further observation, throw himself on the discretion of the court.

To the unbiassed judgment of the public on this, as well as every other part of the case which he now presents for investigation, it is the Author's duty to bow with submissive respect. The indulgence which he has already experienced, has operated as a claim on his exertion, not as a pledge of his security ; and has excited his gratitude without encreasing his confidence.

Though some palliation of occasional negligence might possibly be allowed to him, on the plea of professional employment, yet he hopes that inattention will not be found to be a frequent cause of his defects. In preparing for the press a work, which appeared to his inexperience, both extensive and embarrassing, he certainly, felt the inconvenience which may be supposed to have resulted from the unavoidable avocations

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of his art. But though his leisure moments only, could be devoted to his literary views, he should think it presumptuous to print what they have produced, if he could not at the same time acknowledge that no want of time or care can be urged in excuse for its imperfection.

He who has not the opportunity to study his work, should not have the temerity to publish it. If defects of inability are censurable, defects of negligence are insulting. An author is commonly an intruder upon his readers, and should take care to prove, that he has omitted nothing in his power, which can render his presence acceptable, or shew his respect for the company : but what must be thought of his discretion, who, though he comes uncalled, confesses himself to be unprepared ?

No man has a right to amuse himself at the public expense, which he may be justly said to do, who obtrudes upon our attention, what he admits to be the sport of his recreation, rather than the fruit of his industry.

The Author has now completed his literary voyage, but he cannot expect to discharge his lading, without paying the customs of criticism.

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Though not a regular trader, he hojpes he will not be found to have gone much out of his course ; and in taking leave of a service* in which he is conscious he must appear as

u A lounging landsman, aukward at the oar;"

he shall think himself fortunate, if his goods be not condemned as contraband of Taste, and his owners should be no losers by their speculation*

ELEMENTS OF ART.

Canto First. Argument

Allusion to the Author's former publication — invocation to Taste, as the presiding power that directs the operations of the poet and the painter — inefficiency of labour without genius in the Arts — utility of rules and precepts — judgment the guide of Genius — particularly required by the young painter, to conduct him through the perplexities of Taste — salutary influence of common sense — superior opportunities of the poet, in having always at his command the best models of his art — the Student in painting rarely possessed of this advantage, and commonly secluded from the study of the old masters — his consequent errors — the delusions to which he is exposed, from the prejudices of those to whom he must apply for direction ; — contrarieties of Taste exemplified in the characters of Timanthes, Panaeus, Euphranor, and Torso — the Student cautioned to beware of the opinions of those who recommend extremes in art, and ascribe to some one merit a disproportionate importance — the diligent study of design recommended — an early use of the palette also proposed — the pencil and the portcrayon correctives of each other — the advantages which result from carrying on together the practice of both — the study of ancient sculpture stated, as the school of Beauty and Grace — a standard of proportion first formed by the Greeks, and unequalled by the ability of latter times — propriety of drawing attentively from the living model — defects which always result from designing exclusively after sculpture, and advantages which are derived from the study of the living figure, in qualifying the dryness of style which is often occasioned by an injudicious devotion to the antique.

ELEMENTS OF ART.

CANTO I. Fresnoy

IHO' weak of wing, and scarce above the ground Her former flight, the Muse some favour found ; Her cause attracted where her skill had fail'd, The Painter's, not the Poet's art prevail'd. But now her theme to still more humble strains Imperious calls, where thoughtful precept reigns; Delivering slow, in rough sententious rhyme, What observation draws from toil and time.

n

Yet, may the Muse, tho' still her course she trace Jntechnic trammels, and didactic pace, 10

Collect some flow'rets as she plods along, Should Taste propitious smile upon the song.

Spirit of heaven ! descending to adorn Life's brighter days, of peace and order born ;

Line 13. Spirit of heaven ! descending to adorn] — Taste is a quality more easily personified than explained. Philosophers and critics are still so little agreed about its properties and principles, that the poet and the painter may be excused if, having created an imaginary personage so important to their functions, they invest her with such attributes as are congenial with her general character, and prefer to invoke, rather than investigate, her powers. If the influence of Taste upon the British public were indeed, in any reasonable degree, proportionate to the discussions which it has produced, we should certainly rank high in the scale of national refinement: but. unluckily, in matters which seem to depend more on feeling than on reasoning, on sentiment rather than on science, the most ingenious theories, the most profound speculations, have but little practical operation ; and what the poet and the painter cannot effect for the general advancement of Taste, will be looked for in vain from the philosopher and the metaphysician.