may be made aware of their character, after which the whole range of composition, from the revival of painting down to our own time, will be rendered subservient to his investigation. As it is the character of spaces to diminish as they recede from the eye, we often find in the works of Raffaelle and others this feature engrafted upon portions of their groups, as in Fig. 2, part of the "Cartoon of Ananias.”

Fig. 2.

MARK HART. SE

As it is the character of objects to intercept others more or less as they recede from the foreground, and as it is their character also to diminish and possess less of detail by their receding, we perceive this principle carried into the works of the great founders of the art in a variety of ways. We can trace it in the Greek and Roman basso relievos, in the figures and heads of Michael Angelo and Raffaelle, and in the works of those who have collected from the great stores of Nature and art. The example, Fig. 3, is from Titian, part of a subject formerly in the Church of St. Nicola de Fiari, at Venice, now in Rome.

This regularity of diminution imparts to a work a character of simplicity, and, at the same time, assists the artist in giving depth to his composition, one figure acting as a background to the other.

This regularity of diminution not only assists in giving regularity and simplicity to a work, but enables the artist to carry the eye of the spectator into the depths of his composition. We also find it often employed in giving solidity and firmness to those heads or objects nearest the eye, one portion acting as a background to the other, giving to the whole that advantage which arises from the size, detail and firmness of foreground objects in

Nature. Fig. 4 is a further illustration of the same principle, being part of a design of Rubens, the picture of the "Woman Taken in Adultery," in the collection of Mr. Miles.

In following up the examination of composition into its component parts we find it necessary that they should all combine to produce one result upon the spectator. Raffaelle, in extending his composition into the surrounding parts, employs his whole power in illustrating his story,

either by episodes which embellish and enrich it, or by figures expressive of the circumstances which have preceded it, or by conveying its effects after completion. Some we perceive engaged in relating the event to those entering, or unable to view it from their situation in the picture. Others of various ages and of different sexes, while they give variety to the work, enable him to develop its effect by a variety of expression and action, by extending the lines productive of such sensations, or lines by a union of several parts leading the eye by their direction to the principal point of the story, or giving bulk and strength to the foreground figures. Add to these, figures repeating by their form the principal points, so as to give those richness by extending their shape, or productive of harmony by their action and expression, emanating from those of the principal actors. These remarks more immediately apply to the mental portion of the work, and of works of the highest department in the art; but many of them also may be made applicable to other branches, such as the combining of several heads for the purpose of preserving a mass of flesh color, and to prevent spottiness in the effect; or giving pleasure to the eye by the forms taking pleasing shapes; or assisting deception by lines combining to give strength and magnitude to the foreground objects, or diminished delicacy to the more distant. In short, a knowledge of the higher requisites of painting is of the greatest importance in all the departments, whether in giving dignity to portraiture, such as Titian's, or to landscapes, such as his also, and those of Annibale Carrache, Salvator Rosa or Nicola Poussin. Toward gaining perfection in poetry we find writers recommending this course of investigation. Addison says: "A poet should be very well versed in everything that is noble and stately in the productions of art, whether it appears in painting or statuary; in the great works of architecture, which are in their present glory, or in the ruins of those which flourished in former ages. Such advantages as these help to open a man's thoughts, and to enlarge his imagination, and will, therefore, have their influence on all kinds of writing, if the author knows how to make right use of them." 23 Reynolds recommends "that all the inventions and thoughts of the ancients, whether

23 The same remarks which Doctor Johnson applies to poetry may be here made use of to indicate the sources of instruction for those who aspire to the higher walks of painting: "By the general consent of critics, the first praise of genius is due to the writer of an epic poem, as it requires an assemblage of all the powers which are singly sufficient for other compositions. Poetry is the art of uniting pleasure with truth, by calling imagination to the help of reason. Epic poetry undertakes to teach the most important truths by the most pleasing precepts, and therefore relates some great event in the most affecting manner. History must supply the writer with the rudiments of narration, which he must improve and exalt by nobler art, must animate by dramatic energy, and diversify by retrospection and anticipation; morality must teach him the exact bounds and different shades of vice and virtue; from policy, and the practice of life, he has to learn the discrimination of character, and the tendency of the passions, either single or combined; and physiology must supply him with illustrations and images. To put these materials to poetical use, is required an imagination capable of painting Nature and realizing fiction. Nor is he yet a poet till he has attained the whole extension of his language, distinguished all the delicacies of phrase, and all the colors of words, and learned to adjust their different sounds to all the varieties of metrical modulation."Johnson's Life of Milton.

conveyed to us in statues, bas reliefs, intaglios, cameos or coins, are to be sought after and carefully studied. The genius that hovers over these venerable relics may be called the father of modern art. The collection of the thoughts of the ancients which Raffaelle made with so much trouble is a proof of his opinion on this subject. Such collections may be now made with much more ease by means of an art scarce known in his time. I mean that of engraving, by which, at an easy rate, every man may now avail himself of the inventions of antiquity." He also recommends taking another view of the same figure, either by modeling it or setting a person in the same attitude. This will give the student a quick knowledge, wherein consists the beauty and character of the different great masters; or by altering it to suit his subject, such as the figure of "St. Paul," by Masaccio, introduced in "Paul Preaching," by Raffaelle, or the "Sacrifice at Lystra,” Plate II. To conclude, I can only repeat the words of Sir Joshua Reynolds: "Study, therefore, the great works of the great masters forever. Study as nearly as you can in the order, in the manner and on the principles on which they studied. Study Nature attentively, but always with those masters in your company. Consider them as models which you are to imitate, and at the same time as rivals, with whom you are to contend."

ARRANGEMENT.

Arrangement, though not partaking of that high quality which distinguishes composition, yet, nevertheless, embraces a knowledge of those characteristic features to be found pervading the general appearances of Nature, and to be employed in giving a truth and vigor to assemblages of lines, shades and colors. All objects whose images enter the eye are subject to certain laws, which regulate their form, and assign to them situations in the picture which such forms indicate, and which, having been often observed, have obtained a general consent as to their truth and natural character. To know, therefore, these arrangements observable in Nature is absolutely necessary, that we may employ such knowledge in producing the same results in painting, especially as we find the works of those artists who have thus combined their skill in arrangement give the greatest pleasure to the eye of the spectator. This gratification arises from the several images being depicted in their most characteristic features. In looking abroad upon the face of Nature, for example, in a wide extent of country, where the eye can take a comprehensive observation, we notice toward the horizon a multitude of parallel lines stretching across the landscape. The lines crossing them, being foreshortened, lose their breadth, while the perpendicular lines of objects lose their consequence owing to their diminution from distance; but, as they approach toward the foreground, we perceive that they gain their ascendancy and become more rugged in the outline and stronger in effect from their shadowed portions being larger and darker, owing to their nearness to the eye. Being acquainted with these