it be of the elegant or of the more sublime kind. If we add to this the
powerful materials of lightness and darkness, over which the artist has
complete dominion, to vary and dispose them as he pleases--to diminish
or increase them, as will best suit his purpose, and correspond to the
general idea of his work; a landscape, thus conducted, under the
influence of a poetical mind, will have the same superiority over the
more ordinary and common views, as Milton's "Allegro" and "Penseroso"
have over a cold prosaic narration or description; and such a picture
would make a more forcible impression on the mind than the real scenes,
were they presented before us." We have quoted the above passage,
because it is wanted--we are making great mistakes in that delightful,
and (may we not say?) that high branch of art. He pursues the same
argument with regard to acting, and condemns the _ignorant_ praise
bestowed by Fielding on Garrick. Not an idea of deception enters the
mind of actor or author. On the stage, even the expression of strong
passion must be without the natural distortion and screaming voice.
Transfer, he observes, acting to a private room, and it would be
ridiculous. "Quid enim deformius, quum scenam in vitam transferre?" Yet
he gives here a caution, "that no art can be grafted with success on
another art." "If a painter should endeavour to copy the theatrical pomp
and parade of dress and attitude, instead of that simplicity which is
not a greater beauty in life than it is in painting, we should condemn
such pictures, as painted in the meanest style." What will our
academician, Mr Maclise, say of this remark? He then adduces gardening
in support of his theory,--"nature to advantage dressed," "beautiful and
commodious for the recreation of man." We cannot, however, go with Sir
Joshua, who adds, that "so dressed, it is no longer a subject for the
pencil of a landscape painter, as all landscape painters know." It is
certainly unlike the great landscape he has described, but not very
unlike Claude's, nor out of the way of his pencil. We have in our mind's