The Desultory Man: Collection of Ancient and Modern British Novels and Romances. Vol. CXLVII.James, G. P. R. (George Payne Rainsford)
General
The Desultory Man: Collection of Ancient and Modern British Novels and Romances. Vol. CXLVII.
James, G. P. R. (George Payne Rainsford)
Fiction
When I was a child, nothing pleased me so much as the woodcuts in
Gay's fables, and my nurse could do any thing with me if she promised
me a pretty picture. The taste has grown up with me, and I have as
much difficulty in passing a printseller's window without looking in,
as some people have in passing a book-stall. In returning from our
ramble, we fell upon a shop of the kind; but that which most amused us
was an engraving of the departure of Louis XVIII., on the return of
Napoleon from Elba. In truth, there was little to be represented,
except the good old king getting into his carriage in a great fright.
But the object of the painter was to represent the sorrow of the
people of Paris; and for this purpose he has drawn the two sentinels
in tears, one hiding his eyes with his hand, and the other on his
knees, not a little embarrassed with his musket, while a great many
other tragic attitudes were expended in the background. Frenchmen in
many of their undertakings seem striving to do better than nature,
and, consequently, nine times out of ten they caricature what they
attempt. Their most glaring efforts of this kind are in painting and
engraving, and there they appear to have totally forgotten that the
_beau ideal_ does not consist in generating what nature never
produced, but in assembling the most beautiful objects which naturally
harmonize together.
Painting is one of the most purely imitative of the arts, and the
utmost licence which its greatest masters have allowed it, is simply
the power of choosing and combining what is pleasing to the eye, and
rejecting all that can offend it. This, however, does not content the
present school of painting in France. They must have something such as
never was, and never will be, and in their colouring especially they
have succeeded to a miracle.
David's naked Spartans are brilliant instances of how far art can go
beyond nature; for certainly never was any thing seen under heaven
like the skins of those polished gentlemen. Take away the shields and
helmets, and a very slight alteration would convert the three hundred
arming for Thermopylæ, into Diana and her nymphs bathing; and even
then they would be somewhat too pretty, for without doubt the
goddess's hunting-parties, gave her a much more russet tint than David
has thought proper to bestow upon the hardy warriors of Greece.
Perhaps the great corrector of all things, time, may deprive these
pictures of their adventitious glare of colouring; but even then,
though they may be admired for their fine bold outline, one violent
defect can never be banished, the forced and extravagant attitudes of
some of the principal figures. David had certainly a strange penchant
for sans-culotteism; he never missed an opportunity of leaving his
heroes without any apparel except a helmet, which sits rather
preposterously on a naked man.
Public-domain text, read in full here on John Shaqi.
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