PAINTING.
THE end and object of painting, viewed in its higher sphere, as a branch of the fine arts, is to convey delight by means of the power of imitation, and the pleasure we derive from the contemplation of whatever is beautiful. Not confined to the most pleasing objects in nature alone, but stretching over the wild field of imagination, it embodies whatever ideas the mind is capable of forming of beauty, in its most extended meaning—and is equally qualified to record with powerful impression the varied incidents of history, as to exhibit the workings and effects of human passion. For there are no impressions, however important or delightful, arising from the contemplation of the varied scenes of animate and inanimate natui e, that cannot equally be roused by the influence of painting : thus placing in our hands a valuable and very fascinating means of instruction, and elevating the study itself far above the merit of a merely elegant and pleasing art.
It is no doubt true, that, in the fervour of their enthu siasm for a favorite study, we read in many authors of ex cellencies discoverable in pictures, which it is utterly be yond the power of art to produce. We are told of paint ings that portray all the delicate bleedings of mixed pas sion and purpose—of abstract thought and intention—the ground swell of the mental storm that is gone by, or about to arise ; the distinct conveyance of which by expression, gesture, or combination, it is doubtful if the human coun tenance is under any circumstances capable, and which is, of course, equally little within the sphere of imitation to produce. We are, moreover, somewhat sceptical as to the extent of moral influence which pictures are said to possess, although we are far from refusing to that delight ful art, the power of inculcating its lessons, whether of his tory or morality, in the most pleasing and impressive man lier; but the irresistible magic attributed to it is often overstrained.
He who explores the full range of painting, will find it aufficiently extensive to render exaggeration quite unne cessary ; as, whatever becomes intelligible to the eye in nature itself, is within the scope of painting to exhibit. It may not possess the persuasive powers of eloquence or poetry, in so far as its argument is confined by time and space, and the display of simultaneous effects, within the bounds of the individual scene and instant of representa tion ; but what it loses in the power of detail and continued history, it gains in the instantaneous and involuntary im pression. Its effect is unimpaired by the fatigue of mind, and stretch of attention required to follow the descriptions of the orator or of the poet ; so to retain and to arrange all the materials of poetic delineation in the mind, as to operate the desired effect.
We may describe, with all the beauty of language, or all the fascination of poetry, such incidents as act most powerfully on our feelings—the horrors arising from fran tic passion—sympathy with distress and sorrow, or the delight excited by an amiable action ; but how feeble is the effect likely to prove, when brought in parallel with the in stantaneous impression which the actual sight and presence of the scene is capable of rousing A person may give way to the bitterest expressions of anger and revenge ; if we only hear the words, we take time to consider of their Im port, and reason at our leisure on the consequences likely to ensue ; but present to our view a countenance inflamed by all the vindictive workings of rage, the impression, whether of alarm or participation, becomes instantaneous— like the basilisk, it rivets our attention with an intensity beyond the power of description to excite. Accordingly, it is the great aim of the poet so to fascinate the mind's eye, as to summon it to the supposed presence of the scene he paints—to represent the incidents as in the actual course of occurrence, and his readers as actors and participators in the event. Now, this is likewise the distinctive province of the painter ; for his great study is that of associating the spectator with the subject of his picture, and, by the excel lence and truth of his art, so to engage attention as to ex cite the impressions to which the actual reality would have given birth. It is in the exercise of this higher branch of the art, which has for its object the sublime study of the moral world, that the painter takes his place beside the poet--that he renders his works not only delightful but useful, in so far as the successful effort of his genius is presented to the eye, which cannot choose but to convey a strong impression to the mind. It is exactly the same pic ture which the painter communicates through the eye to the mind, that the poet strives to raise in the imagination; and it.cannot be denied, that the impression of ideal pre sence must be more favourably seconded in obtaining ac cess through the medium of the eye than of the ear. It is a single process, and involuntary, which is not the case with the other. Painting may, in this respect, yield to theatrical representation, but to that alone.