be said of the idea of power or grandeur. No one can say
that the idea of power does not affect the mind with the sense of awe
and sublimity. That is, power and weakness, grandeur and littleness,
are not indifferent things, the perfection of which consists in a medium
between both. Again, expression is not a thing indifferent in itself,
which derives its value or its interest solely from its conformity to
a neutral standard. Who would neutralise the expression of pleasure
and pain? or say that the passions of the human mind--pity, love, joy,
sorrow, etc.--are only interesting to the imagination and worth the
attention of the artist, as he can reduce them to an equivocal state
which is neither pleasant nor painful, neither one thing nor the other?
Or who would stop short of the utmost refinement, precision, and force
in the delineation of each? Ideal expression is not neutral expression,
but extreme expression. Again, character is a thing of peculiarity,
of striking contrast, of distinction, and not of uniformity. It is
necessarily opposed to Sir Joshua's exclusive theory, and yet it is
surely a curious and interesting field of speculation for the human
mind. Lively, spirited discrimination of character is one source of
gratification to the lover of nature and art, which it could not be if
all truth and excellence consisted in rejecting individual traits.
Ideal character is not common-place, but consistent character marked
throughout, which may take place in history or portrait. Historical
truth in a picture is the putting the different features of the face or
muscles of the body into consistent action. The picturesque altogether
depends on particular points or qualities of an object, projecting as
it were beyond the middle line of beauty, and catching the eye of the
spectator. It was less, however, my intention to hazard any speculations
of my own than to confirm the common-sense feelings on the subject by
Sir Joshua's own admissions in different places. In the Tenth Discourse,
speaking of some objections to the Apollo, he has these remarkable
words:--

'In regard to the last objection (viz. that the lower half of the figure
is longer than just proportion allows) it must be remembered that
Apollo is here in the exertion of _one of his peculiar powers,_ which
is swiftness; he has therefore that proportion which is best adapted to
that character. This is no more incorrectness than when there is given
to a Hercules an ext