which, taking into consideration the very peculiar effect the light and shade in which they are placed, must have upon any complexion, I conceive are managed, to say the least, with justness and truth; and that those who have studied, or even seen nature in this situation, so degraded by violent and evil passions, will feel and admire this fine passage of the picture. They are all placed in a weak light; their passions have turned their faces pale, and affect their complexions with various hues; and those hues are rendered deeper by the contrast of the warm light from the holy place. The second character from the high priest is the darkest of them, and the chief reason for his peculiar tint is, that the artist has contrived an appropriate darkness fitted to the soul of this man, wherein to place his evil expression; the effect of the day-light is very nearly excluded from his face, as he is overshadowed by the tall figure pointing to the Saviour, and by the white hood which covers his head, which also contrasts with his face, as upon the other figures near him of the same kind. These things taken together, give a tone of discord, or wolf note, highly proper for this part of the performance, I have chosen thus to explain the effect of this head, because when the mind perfectly understands how to account for his complexion, the justness of the colouring, beautiful in its kind in all these characters, will be allowed; and the moral, or artist's intention, will be felt and followed, by a just detestation of the evil passions of such men, who could thus hate the most exalted goodness. Of the Natural Relief of the Figures. Objects are made to look separated, or as it is termed, relieved, from each other in painting, by three modes: First, from the judicious manner of opposing the natural difference of their colours, as bright and dark colours contrasted with each other; and also from the light naturally falling upon one part, whilst another is left in shadow; and again, by the reflection. of the light into the dark shadowed parts. In subjects where the intention is to affect the mind with serious and salutary inpressions, as in the present instance, this should be ordered in such a manner as to realize the objects without disturbing the mind by its particular, or too great effect in any one part of the picture, which is here judiciously attended to, yet with sufficient boldness in its general management. The chaste and able manner in which Mr. West has performed this part of his work, will vie with the most select productions of the greatest masters in this branch of the art. The Keeping, or Aerial Perspective. Upon objects that are near to the view, the light and shade and colours are all stronger than when the same objects are seen at a distance, through a greater quantity of the atmospheric air, where the light and shade and the colours will appear faint to the eye, in comparison to their appearance when near. The correct observance of this strength and faintness in just proportion to the distance of objects, is termed keeping; because, acting with the correct size of distant and near objects, obtained by lineal perspective, it keeps them in their proper places. There is, in every part of this picture, a masterly illustration of it; for a particular instance, see the head of the son of the palsied woman with the figure of a female, in a white veil above him, and the distant view of the temple and the clouds. The Execution. The drawing and anatomy is most beautiful; and should the picture be handed down to after ages, free from accident, it will be more highly prized, as coming from the pencil of the worthy president, after that period of his life when he had studied the works of Phideas, in the Elgin Marbles, so truly wonderful for their surpassing beauties: thus confirming his own grand conceptions and acquirements; and possibly rendering his pencil still bolder and more free. "The anatomy of the sick man forms of itself a most excel lent and splendid exhibition of art." The same may be said of the two slaves; and indeed every other nude part. The heads in general are very fine in this respect-some of them merit the highest praise. There are several intrepid foreshortenings, which are wonderfully executed-for instance, the hands and arms of the blind girl. The drawing of all the hands and feet is finely finished, and in happy agreement with each other, and characteristic of the whole person and face they belong to, as are the ears and other parts. The hands of the Saviour are very beautiful. Those of the young man in the foreground, kneeling, are worthy of great attention. There are many expressions in the variety of the passions here depicted, which will be standard feasts, ever new to the mind, and improving the more they are considered. Some of the draperies are very grand, and gracefully disposed, especially those of the principal figure; all the others are appropriate, agreeing with the action and condition of the wearer; as, for example, in the distressed situation of the lunatic boy's father, it is in happy union with his expression. I do not believe there are any portraits in this picture, though Mr. West has no doubt had nature before him, somewhat applicable, in the general outline, when designing many of the characters. This is known to be the common practice of the best historical painters, for obtaining the verity of nature. There may be some slight likeness, but not a direct portrait in any of them. The evident touches of the pencil, technically termed the pencilling or handling, have in many parts such ease that they seem to have proceeded from a daring and happy playfulness. It has in general the freedom of a sketch; and a flowing line pervades the whole: in short, it is such as could spring only from the bold hand of a confident, long experienced master; all was ready in his sage and matured mind; and the vigorous, effective touch, flowed forth with a full richness upon the can vass. Viewing the picture at a proper distance, the whole has a powerful, rich, and highly finished effect. The artist bears us many ages back, and we become included in a scene calculated to touch and improve the mind, and to excite a just admiration of the powers bestowed upon man. Those who have seen the celebrated works of art in Europe, and who really feel their beauties, justly admire the sublime, terrific greatness of Michael Angelo's ideas, and his grand manner of execution; the grace of elevated nature, and force of expression in the works of the heaven-fraught Raphael; the just and high feeling of nature in the colouring of Titian; and the various beauties of the other masters, who truly deserve the name of great, in their several branches of the art. To combine their different excellencies in the degree they possessed them, is perhaps what no man will ever effect. In the chaste execution of Mr. West's picture, however, will be found, in my opinion, an assemblage of them as successful as ever was achieved. I am conscious that temperate and rational praise is the most forcible eulogy; and I have not, in my attempt at describing this great work of art, dared to use any other. My best endeavours have been exerted to give my author's meaning, and I think I have done so. Whatever may be the fate of this short essay, the credit or discredit will be only mine, as I have not consulted any one upon the subject; but thus present my description and critique to the public, in strict adherence to my motto. We now possess a most noble production of the graphic muse, truly worthy of becoming the foundation of an American school of historical painting. May that future school rise to the highest excellence; and its celebrity, united with the certain fame of this picture, reach the latest posterity! Philadelphia, February 23d, 1818. |