escape the notice of literary men, nor of connoisseurs, of whose suffrages especially I am ambitious.

To prevent my opinions from being misunderstood through the frequency of my arguments against the prejudices of others in regard to different kinds of pictures, I think it due to myself to say, before finishing this chapter, that, perfectly impartial in every thing else, I am a partisan only for the quality of truth in a picture. If I am the admirer of natural beauties well imitated, I am not the less so of ideal beauties well employed; in a word, I love every production of the pencil, in proportion as its real and intrinsic merit ought to make it commendable. But as an impartial friend of all that is beautiful in art, I will say, and repeat without ceasing, that without the science of colouring, that so difficult science about which the exclusive partisans of ideal beauty trouble themselves so little, their antiques and their ideal perfection may produce designs, but never can pictures!

If those in whose favour I have written this work approve of it and profit by it, if the facilities and assistance which it affords shall multiply amateurs of the art, I shall then have the recompense that will be the most delightful to me; a recompense that will indemnify me for the criticisms to which the nature and the novelty of the subject I treat of may expose me on the part of those whose interest may not find its account here, or on the part of those whose opinions shall be impugned, and their self-love wounded, contrary to my desire,

by the truths which I declare. I dare to hope that no one will be able to reproach me with having designedly given personal offence. If, nevertheless, it be possible that I can have wounded the selfesteem of any one, I protest beforehand that it has been without intention, as I will prove by my silence in every case in which it may be shown to the public that there is ground for such a complaint.

CHAPTER II.

OF THE QUALITIES WHICH ARE REQUIRED TO MAKE A GOOD PICTURE.

SECT. I. Definition of Painting and of a Picture.

PAINTING, considered with reference to pictures, is, according to my idea, nothing else than the art of applying colours, without relief, upon a plain surface, so as to imitate any object, in the manner in which it is seen, or may be conceived visible in nature. From this definition, which I have made as exact and complete as I possibly could, it naturally follows that every thing that fulfils in any manner the conditions contained in it, is indeed a picture; but it does not in like manner follow that it is a good picture. For not only does the subject affect its goodness, but it is evident that it will be better in proportion as the conditions shall be skilfully and rigorously fulfilled, and, by consequence, the imitation more perfect. Starting from these premises, I shall be able to establish most of the qualities that are required in a good picture on the side of execution. But, besides that the whole qualities are not reduced to that one, I prefer to give all the necessary clearness to the subject by stating a principle as simple as it is luminous, which is the

result of forty years study and observation on the matter, and which says all in two words only.

A good choice (of subject) well represented*, are the two words which include exactly all the conditions necessary to make a picture good! Its merit will increase in proportion as there may be a better choice of subject, and as that may be better represented; and it will decrease, in the proportion that its subject, or execution, or both together, fall below the definition.

SECT. III. Of a good Choice (of Subject).

As painting belongs to the agreeable arts, the first aim of every artist ought to be to please. This is the principle which ought to regulate his choice of subject in order that it may be good. If therefore the subject be ever so little displeasing, the picture will cease to be good, and it will become worse the more this is the case. Consequently, it will not be well chosen, if, even in nature herself, it excite only indifference or contempt by its nothingness or insignificance; disgust or displeasure by its monotony, or hideous and revolting form; horror and affright, by its monstrosity or barbarity.

* "Bon choix, bien rendu."

To render this more clear by examples, I observe that the representation of an article by itself, such as a chair, a table, a book, and a thousand other similar objects which fall under our notice every instant without exciting in us the least attention, or that of a window, a door, a wall, or any thing that makes part of a house, if nothing accompany them to give them interest, will, in the eyes of a true connoisseur, be only as images, or the toys of an infant, however precious they may be in point of execution. But if the window be enriched with a head looking out, for example, were it only from a single open pane, the whole may become a work in the highest degree interesting; as is shown by a picture of such a subject, painted by Hoogstraeten, and now in the Imperial Gallery at Vienna. I add, that excepting man, that king of nature, whose head presents to a painter the subject that is the most interesting for character, grace, dignity, and the expression of the whole mind, of which it is the mirror, no animal, dead or alive, affords in any one part of its frame, whatever care may be taken in the execution, more than a subject for a study, or will by any means form what can be called a picture. The entire frame even of the greater number of animals, or a representation of any one vegetable production, cannot produce a good work, unless as parts of an attractive whole. Nay, a portrait of the human countenance having the greatest degree of resemblance, may become a picture which shocks by its