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proportion in all countenances, however various, so is there a similar proportion between the small traits of these parts. Infinitely varied are the great features, in their general combination and proportion. As infinitely varied are the shades of the small traits, in these features, however great their general resemblance. Without an accurate knowledge of the proportion of the principal features, as for example, of the eyes and mouth, to each other, it must ever be mere accident, an accident that indeed rarely happens, when such proportion exists in the works of the painter. Without an accurate knowledge of the particular constituent parts, and traits of each principal feature, I once again repeat, it must be accident, miraculous accident, should any one of them be justly deli

neated.

The reflecting artist may be induced from this remark to study nature intimately by principle, and to shew him, if he be in search of permanent fame, that, though he ought to behold and study the works of the greatest masters with esteem and reverence, he yet ought to examine and judge for himself. Let him not make the virtue modesty his plea, for under this does omnipresent mediocrity shelter itself. Modesty, indeed, is not so properly virtue as the garb and ornament of virtue, and of existing positive power. Let him, I say, examine for himself, and study nature in whole and in part, as if no man ever had observed, or ever should observe,

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but himself. Deprived of this, young artist, thy glory will but resemble a meteor's blaze; it will only be founded on the ignorance of your contemporaries.

By far the greater part of the best portrait painters, when most successful, like the majority of physiognomists, content themselves with expressing the character of the passions in the moveable, the muscular features of the face. They do not understand, they laugh at, rules which prescribe the grand outline of the countenance as indispensable to portrait painting, independent of the effects produced by the action of the muscles.

Till institutions shall be formed for the improvement of portrait painting, perhaps till a physiognomonical society or academy shall produce physiognomonical portrait painters, we shall at best but creep in the regions of physiognomy, where we might otherwise soar. One of the greatest obstacles to physiognomy is the actual, incredible imperfection of this art. There is generally a defect of eye, or hand of the painter, or the object is defective which is to be delineated, or, perhaps, all three. The artist cannot discover what is, or cannot draw it when he discovers it. The object continually alters its position, which ought to be so exact, so continually the same; or should it not, and should the painter be endowed with an all-observing eye, an all-imitative hand, still there is the last insuperable difficulty, that of the posi

tion of the body, which can but be momentary, which is constrained, false, and unnatural, when more than momentary.

Trifling, indeed, is what I have said to what might be said. According to the knowledge I have of it, this is yet uncultivated ground. How little has Sultzer himself said on the subject! But what could he say in a dictionary? A work wholly dedicated to this is necessary to examine and decide on the works of the best portrait painters, and to insert all the cautions and rules necessary for the young artist, in consequence or the infinite variety, yet incredible uniformity, of the human countenance.

The artist who wishes to paint portraits perfectly, must so paint, that each spectator may with truth exclaim, "This is indeed to paint! this is true, living likeness; perfect nature; it is not painting! Outline, form, proportion, position, attitude, complexion, light and shade, freedom, ease, nature! Nature in every characteristic disposition! Nature in the complexion, in each trait, in her most beauteous, happiest moments, her most select, most propitious state of mind; near at a distance, on every side Truth and Nature! Evident to all men, all ages, the ignorant and the connoisseur; most conspicuous to him who has most knowledge; no suspicion of art; a countenance in a mirror, to which we would speak, that speaks to us; that contemplates more than it is contemplated;

we rush to it, we embrace it, we are enchanted!"

Young artist, emulate such excellence, and the least of your attainments in this age will be riches and honour, and fame in futurity. With tears you will receive the thanks of father, friend, and husband, and your work will honour that Being, whose creations it is the noblest gift of man to imitate!

CHAP. LI.

Description of Plate VII.

Number 1. The late KING of PRUSSIA. How much yet how little is there of the royal countenance in this copy! The covered forehead, may be suspected from this nose, this sovereign feature. The forked descending wrinkles of the nose are expressive of killing contempt. The great eyes, with a nose so bony, denotes a firmness and fire not easily to be withstood. Wit and satirical fancy are apparent in the mouth though defectively drawn. There is something minute seen in the chin, which cannot well be in nature.

Number 2. The EMPRESS of RUSSIA.

Except the smallness of the nostril, and the distance of the eyebrow from the outline of the

forehead, no one can mistake the princely, the superior, the masculine firmness of this, nevertheless feminine, but fortunate and kind coun

tenance.

Number 3.

VOLTAIRE.

Precision is wanting to the outline of the eye, power to the eyebrows, the sting, the scourge of satire to the forehead. The under part of the profile, on the contrary, speaks a flow of wit, acute, exuberant, exalted, ironical, never deficient in reply.

Number 4. MALHERBE.

Here is a high, comprehensive, powerful, firm, retentive, French forehead, that appears to want the open, free, noble essence of the former; has something rude and productive; is more choleric; and its firmness appears to border on harshness.

Number 5. VOISIN.

The delicate construction of the forehead, the aspect of the man of the world, the beauty of the nose, in particular, the somewhat rash, satirical mouth, the pleasure-loving chin, all shew the Frenchman of a superior class.-The excellent companion, the fanciful wit, the supple courtier, are every where apparent.

Number 6. LAVATER.

A bad likeness of the author of these frag

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