Part 20

It remains only to speak a few words of Architecture, which does not come under the denomination of an imitative art. It applies itself, like Music (and, I believe, we may add Poetry), directly to the imagination, without the intervention of any kind of imitation.

There is in Architecture, as in Painting, an inferior branch of art, in which the imagination appears to have no concern. It does not, however, acquire the name of a polite and liberal art from its usefulness, or administering to our wants or necessities, but from some higher principle; we are sure that in the hands of a man of genius it is capable of inspiring sentiment, and of filling the mind with great and sublime ideas.

It may be worth the attention of Artists to consider what materials are in their hands, that may contribute to this end; and whether this art has it not in its power to address itself to the imagination with effect, by more ways than are generally employed by Architects.

To pass over the effect produced by that general symmetry and proportion, by which the eye is delighted, as the ear is with music, Architecture certainly possesses many principles in common with Poetry and Painting. Among those which may be reckoned as the first, is, that of affecting the imagination by means of association of ideas. Thus, for instance, as we have naturally a veneration for antiquity, whatever building brings to our remembrance ancient customs and manners, such as the castles of the Barons of ancient Chivalry, is sure to give this delight. Hence it is that _towers and battlements_[16] are so often selected by the Painter and the Poet to make a part of the composition of their ideal Landscape; and it is from hence, in a great degree, that, in the buildings of Vanbrugh, who was a Poet as well as an Architect, there is a greater display of imagination than we shall find, perhaps, in any other, and this is the ground of the effect we feel in many of his works, notwithstanding the faults with which many of them are justly charged. For this purpose, Vanbrugh appears to have had recourse to some of the principles of the Gothic Architecture; which, though not so ancient as the Grecian, is more so to our imagination, with which the Artist is more concerned than with absolute truth.

The Barbaric splendour of those Asiatic Buildings, which are now publishing by a member of this Academy,[17] may possibly, in the same manner, furnish an Architect, not with models to copy, but with hints of composition and general effect, which would not otherwise have occurred.

It is, I know, a delicate and hazardous thing (and, as such, I have already pointed it out) to carry the principles of one art to another, or even to reconcile in one object the various modes of the same art, when they proceed on different principles. The sound rules of the Grecian Architecture are not to be lightly sacrificed. A deviation from them, or even an addition to them, is like a deviation or addition to, or from, the rules of other Arts--fit only for a great master, who is thoroughly conversant in the nature of man, as well as all combinations in his own Art.

It may not be amiss for the Architect to take advantage _sometimes_ of that to which I am sure the Painter ought always to have his eyes open--I mean the use of accidents: to follow when they lead, and to improve them, rather than always to trust to a regular plan. It often happens that additions have been made to houses, at various times, for use or pleasure. As such buildings depart from regularity, they now and then acquire something of scenery by this accident, which I should think might not unsuccessfully be adopted by an Architect, in an original plan, if it does not too much interfere with convenience. Variety and intricacy is a beauty and excellence in every other of the arts which address the imagination: and why not in Architecture?

The forms and turnings of the streets of London and other old towns are produced by accident, without any original plan or design, but they are not always the less pleasant to the walker or spectator on that account. On the contrary, if the city had been built on the regular plan of Sir Christopher Wren, the effect might have been, as we know it is in some new parts of the town, rather unpleasing; the uniformity might have produced weariness, and a slight degree of disgust.

I can pretend to no skill in the detail of Architecture. I judge now of the art, merely as a Painter. When I speak of Vanbrugh, I mean to speak of him in the language of our art. To speak, then, of Vanbrugh in the language of a painter, he had originality of invention, he understood light and shadow, and had great skill in composition. To support his principal object, he produced his second and third groups or masses; he perfectly understood in his art what is the most difficult in ours, the conduct of the background; by which the design and invention is set off to the greatest advantage. What the background is in Painting, in Architecture is the real ground on which the building is erected; and no Architect took greater care than he that his work should not appear crude and hard; that is, it did not abruptly start out of the ground without expectation or preparation.

This is a tribute which a Painter owes to an Architect who composed like a painter; and was defrauded of the due reward of his merit by the wits of his time, who did not understand the principles of composition in poetry better than he; and who knew little, or nothing, of what he understood perfectly--the general ruling principles of Architecture and Painting. His fate was that of the great Perrault; both were the objects of the petulant sarcasms of factious men of letters; and both have left some of the fairest ornaments which to this day decorate their several countries; the façade of the Louvre, Blenheim, and Castle Howard.

Upon the whole it seems to me, that the object and intention of all the Arts is to supply the natural imperfection of things, and often to gratify the mind by realising and embodying what never existed but in the imagination.

It is allowed on all hands, that facts, and events, however they may bind the Historian, have no dominion over the Poet or the Painter. With us, History is made to bend and conform to this great idea of Art. And why? Because these Arts, in their highest province, are not addressed to the gross senses; but to the desires of the mind, to that spark of divinity which we have within, impatient of being circumscribed and pent up by the world which is about us. Just so much as our Art has of this, just so much of dignity, I had almost said of divinity, it exhibits; and those of our Artists who possessed this mark of distinction in the highest degree, acquired from thence the glorious appellation of DIVINE.

FOOTNOTES:

16:

"Towers and Battlements it sees Bosom'd high in tufted trees."--MILTON, L'ALL.

17: Mr. Hodges.

DISCOURSE XIV.

_Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, December 10, 1788._

CHARACTER OF GAINSBOROUGH:--HIS EXCELLENCIES AND DEFECTS.

In the study of our art, as in the study of all arts, something is the result of _our own_ observation of nature; something, and that not a little, the effect of the example of those who have studied the same nature before us, and who have cultivated before us the same art, with diligence and success. The less we confine ourselves in the choice of those examples, the more advantage we shall derive from them; and the nearer we shall bring our performances to a correspondence with nature and the great general rules of art. When we draw our examples from remote and revered antiquity--with some advantage, undoubtedly, in that selection--we subject ourselves to some inconveniencies. We may suffer ourselves to be too much led away by great names, and to be too much subdued by overbearing authority. Our learning, in that case, is not so much an exercise of our judgment as a proof of our docility. We find ourselves, perhaps, too much overshadowed; and the character of our pursuits is rather distinguished by the tameness of the follower than animated by the spirit of emulation. It is sometimes of service that our examples should be _near_ us; and such as raise a reverence, sufficient to induce us carefully to observe them, yet not so great as to prevent us from engaging with them in something like a generous contention.

We have lately lost Mr. Gainsborough, one of the greatest ornaments of our Academy. It is not our business here to make Panegyrics on the living, or even on the dead who were of our body. The praise of the former might bear the appearance of adulation; and the latter of untimely justice; perhaps of envy to those whom we have still the happiness to enjoy, by an oblique suggestion of invidious comparisons. In discoursing, therefore, on the talents of the late Mr. Gainsborough, my object is, not so much to praise or to blame him, as to draw from his excellencies and defects matter of instruction to the Students in our Academy. If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English School, the name of Gainsborough will be transmitted to posterity, in the history of the art, among the very first of that rising name. That our reputation in the Arts is now only rising must be acknowledged; and we must expect our advances to be attended with old prejudices, as adversaries, and not as supporters; standing in this respect in a very different situation from the late artists of the Roman School, to whose reputation ancient prejudices have certainly contributed; the way was prepared for them, and they may be said rather to have lived in the reputation of their country than have contributed to it; whilst whatever celebrity is obtained by English Artists can arise only from the operation of a fair and true comparison. And when they communicate to their country a share of their reputation, it is a portion of fame not borrowed from others, but solely acquired by their own labour and talents. As Italy has undoubtedly a prescriptive right to an admiration bordering on prejudice, as a soil peculiarly adapted, congenial, and, we may add, destined to the production of men of great genius in our Art, we may not unreasonably suspect that a portion of the great fame of some of their late artists has been owing to the general readiness and disposition of mankind to acquiesce in their original prepossessions in favour of the productions of the Roman School.

On this ground, however unsafe, I will venture to prophesy, that two of the last distinguished painters of that country, I mean Pompeio Battoni and Raffaelle Mengs, however great their names may at present sound in our ears, will very soon fall into the rank of Imperiale, Sebastian Concha, Placido Constanza, Masaccio, and the rest of their immediate predecessors; whose names, though equally renowned in their lifetime, are now fallen into what is little short of total oblivion. I do not say that those painters were not superior to the artist I allude to, and whose loss we lament, in a certain routine of practice, which, to the eyes of common observers, has the air of a learned composition, and bears a sort of superficial resemblance to the manner of the great men who went before them. I know this perfectly well; but I know likewise, that a man looking for real and lasting reputation must unlearn much of the commonplace method so observable in the works of the artists whom I have named. For my own part, I confess, I take more interest in and am more captivated with the powerful impression of nature which Gainsborough exhibited in his portraits and in his landscapes, and the interesting simplicity and elegance of his little ordinary beggar-children, than with any of the works of that School, since the time of Andrea Sacchi, or perhaps we may say Carlo Maratti; two painters who may truly be said to be ULTIMI ROMANORUM.

I am well aware how much I lay myself open to the censure and ridicule of the academical professors of other nations, in preferring the humble attempts of Gainsborough to the works of those regular graduates in the great historical style. But we have the sanction of all mankind in preferring genius in a lower rank of art to feebleness and insipidity in the highest.

It would not be to the present purpose, even if I had the means and materials, which I have not, to enter into the private life of Mr. Gainsborough. The history of his gradual advancement, and the means by which he acquired such excellence in his art, would come nearer to our purposes and wishes, if it were by any means attainable; but the slow progress of advancement is in general imperceptible to the man himself who makes it; it is the consequence of an accumulation of various ideas which his mind has received, he does not perhaps know how or when. Sometimes, indeed, it happens that he may be able to mark the time when, from the sight of a picture, a passage in an author, or a hint in conversation, he has received, as it were, some new and guiding light, something like inspiration, by which his mind has been expanded; and is morally sure that his whole life and conduct has been affected by that accidental circumstance. Such interesting accounts we may, however, sometimes obtain from a man who has acquired an uncommon habit of self-examination, and has attended to the progress of his own improvement.

It may not be improper to make mention of some of the customs and habits of this extraordinary man; points which come more within the reach of an observer: I, however, mean such only as are connected with his art, and indeed were, as I apprehend, the causes of his arriving to that high degree of excellence which we see and acknowledge in his works. Of these causes we must state, as the fundamental, the love which he had to his art; to which, indeed, his whole mind appears to have been devoted, and to which everything was referred; and this we may fairly conclude from various circumstances of his life, which were known to his intimate friends. Among others, he had a habit of continually remarking to those who happened to be about him whatever peculiarity of countenance, whatever accidental combination of figure, or happy effects of light and shadow, occurred in prospects, in the sky, in walking the streets, or in company. If, in his walks, he found a character that he liked, and whose attendance was to be obtained, he ordered him to his house: and from the fields he brought into his painting-room stumps of trees, weeds, and animals of various kinds; and designed them, not from memory, but immediately from the objects. He even framed a kind of model of landscapes on his table; composed of broken stones, dried herbs, and pieces of looking-glass, which he magnified and improved into rocks, trees, and water. How far this latter practice may be useful in giving hints, the professors of landscape can best determine. Like every other technical practice, it seems to me wholly to depend on the general talent of him who uses it. Such methods may be nothing better than contemptible and mischievous trifling; or they may be aids. I think, upon the whole, unless we constantly refer to real nature, that practice may be more likely to do harm than good. I mention it only, as it shows the solicitude and extreme activity which he had about everything that related to his art; that he wished to have his objects embodied, as it were, and distinctly before him; that he neglected nothing which could keep his faculties in exercise, and derived hints from every sort of combination.

We must not forget, whilst we are on this subject, to make some remarks on his custom of painting by night, which confirms what I have already mentioned,--his great affection to his art; since he could not amuse himself in the evening by any other means so agreeable to himself. I am, indeed, much inclined to believe that it is a practice very advantageous and improving to an artist; for by this means he will acquire a new and a higher perception of what is great and beautiful in nature. By candle-light, not only objects appear more beautiful, but from their being in a greater breadth of light and shadow, as well as having a greater breadth and uniformity of colour, nature appears in a higher style; and even the flesh seems to take a higher and richer tone of colour. Judgment is to direct us in the use to be made of this method of study; but the method itself is, I am sure, advantageous. I have often imagined that the two great colourists, Titian and Correggio, though I do not know that they painted by night, formed their high ideas of colouring from the effects of objects by this artificial light; but I am more assured that whoever attentively studies the first and best manner of Guercino, will be convinced that he either painted by this light, or formed his manner on this conception.

Another practice Gainsborough had, which is worth mentioning, as it is certainly worthy of imitation; I mean his manner of forming all the parts of his picture together; the whole going on at the same time, in the same manner as nature creates her works. Though this method is not uncommon to those who have been regularly educated, yet probably it was suggested to him by his own natural sagacity. That this custom is not universal appears from the practice of a painter whom I have just mentioned, Pompeio Battoni, who finished his historical pictures part after part, and in his portraits completely finished one feature before he proceeded to another. The consequence was as might be expected; the countenance was never well expressed; and, as the painters say, the whole was not well put together.

The first thing required to excel in our art, or I believe in any art, is not only a love for it, but even an enthusiastic ambition to excel in it. This never fails of success proportioned to the natural abilities with which the artist has been endowed by Providence. Of Gainsborough, we certainly know, that his passion was not the acquirement of riches, but excellence in his art; and to enjoy that honourable fame which is sure to attend it.--That _he felt this ruling passion strong in death_ I am myself a witness. A few days before he died, he wrote me a letter, to express his acknowledgments for the good opinion I entertained of his abilities, and the manner in which (he had been informed) I always spoke of him; and desired he might see me once more before he died. I am aware how flattering it is to myself to be thus connected with the dying testimony which this excellent painter bore to his art. But I cannot prevail on myself to suppress that I was not connected with him, by any habits of familiarity: if any little jealousies had subsisted between us, they were forgotten in those moments of sincerity; and he turned towards me as one who was engrossed by the same pursuits, and who deserved his good opinion, by being sensible of his excellence. Without entering into a detail of what passed at this last interview, the impression of it upon my mind was, that his regret at losing life was principally the regret of leaving his art; and more especially as he now began, he said, to see what his deficiencies were; which, he said, he flattered himself in his last works were in some measure supplied.

When such a man as Gainsborough arrives to great fame, without the assistance of an academical education, without travelling to Italy, or any of those preparatory studies which have been so often recommended, he is produced as an instance how little such studies are necessary; since so great excellence may be acquired without them. This is an inference not warranted by the success of any individual; and I trust it will not be thought that I wish to make this use of it.

It must be remembered that the style and department of art which Gainsborough chose, and in which he so much excelled, did not require that he should go out of his own country for the objects of his study; they were everywhere about him; he found them in the streets and in the fields, and from the models thus accidentally found, he selected with great judgment such as suited his purpose. As his studies were directed to the living world principally, he did not pay a general attention to the works of the various masters, though they are, in my opinion, always of great use, even when the character of our subject requires us to depart from some of their principles. It cannot be denied, that excellence in the department of the art which he professed may exist without them; that in such subjects, and in the manner that belongs to them, the want of them is supplied, and more than supplied, by natural sagacity, and a minute observation of particular nature. If Gainsborough did not look at nature with a poet's eye, it must be acknowledged that he saw her with the eye of a painter; and gave a faithful, if not a poetical, representation of what he had before him.

Though he did not much attend to the works of the great historical painters of former ages, yet he was well aware that the language of the art--the art of imitation--must be learned somewhere; and as he knew that he could not learn it in an equal degree from his contemporaries, he very judiciously applied himself to the Flemish School, who are undoubtedly the greatest masters of one necessary branch of art; and he did not need to go out of his own country for examples of that school; from that he learnt the harmony of colouring, the management and disposition of light and shadow, and every means which the masters of it practised, to ornament and give splendour to their works. And to satisfy himself as well as others how well he knew the mechanism and artifice which they employed to bring out that tone of colour which we so much admire in their works, he occasionally made copies from Rubens, Teniers, and Vandyke, which it would be no disgrace to the most accurate connoisseur to mistake, at the first sight, for the works of those masters. What he thus learned, he applied to the originals of nature, which he saw with his own eyes; and imitated, not in the manner of those masters, but in his own.

Whether he most excelled in portraits, landscapes, or fancy pictures, it is difficult to determine: whether his portraits were most admirable for exact truth of resemblance, or his landscapes for a portrait-like representation of nature, such as we see in the works of Rubens, Ruysdaal, and others of those schools. In his fancy pictures, when he had fixed on his object of imitation, whether it was the mean and vulgar form of a wood-cutter, or a child of an interesting character, as he did not attempt to raise the one, so neither did he lose any of the natural grace and elegance of the other; such a grace, and such an elegance, as are more frequently found in cottages than in courts. This excellence was his own, the result of his particular observation and taste; for this he was certainly not indebted to the Flemish School, nor, indeed, to any school; for his grace was not academical or antique, but selected by himself from the great school of nature; and there are yet a thousand modes of grace, which are neither theirs, nor his, but lie open in the multiplied scenes and figures of life, to be brought out by skilful and faithful observers.

Upon the whole, we may justly say, that whatever he attempted he carried to a high degree of excellence. It is to the credit of his good sense and judgment, that he never did attempt that style of historical painting for which his previous studies had made no preparation.