chitecture symmetrical? Painters of architectural subjects very
commonly overlook this, and by perspective difference destroy this
orderly character. Few make the centre the point of sight; which is,
however, the proper one for representation, as it alone shows the
exact conformity and order, the idea of which it was the purpose of
the architect to present, and which constitutes _the_ beauty. The
"pyramid" rule is manifestly absurd, and seldom has even a tolerably
good effect. It was the quackery of a day.[5] The good masters did not
work upon it. It is, in fact, a little truth taken out of a greater,
and misapplied--a part of that circular character of composition, as
it were a principle of reflection, by which lines close in upon or
recede from each other. We have, in a former paper in this Magazine,
treated of this principle--to dwell on it now would take us far from
our purpose. As to the ability of all persons to judge of the
naturalness of a picture, the translator doubts the correctness of the
affirmative opinion of his author. He remarks, that "it requires
considerable practice and experience to enable one to judge how much
art can do; what is the exact medium between feebleness and
exaggeration, which constitutes the all-surpassing quality of truth,
of which he declares himself a partisan; and in what manner one
painter differs from or excels another in the representation of it."
It may also be observed, that people in general have uncultivated
eyes, and see not the whole beauties of any one object; they are
commonly quite ignorant of ideal and sentimental beauty, almost
wholly arising out of the _power of art_--the representing the
imagination. It is when such persons are called upon to see nature in
a picture, that they show how imperfect their sight has been. Seeing
the representation in a frame, they know it to be a work of art, and
generally object to shadow; whereas, could they see the picture placed
at an open window or some deceiving position, they would be deceived.
Many, knowing the intention is to deceive them, are ready armed with
objections, which, however, they make because they have sought them,
not because they have felt them. What we term local colour, is termed
by M. de Burtin _proper_ colour; local colour he considers as the
colour made variable by space, by locality, air, light, and
surrounding bodies. The distinction may be useful; but _proper_ colour
will itself be difficult to discover, fo