WE may conclude this Argument with a general Reflection, which seems to arise naturally from what has been said on this Subject in particular: That in a real History-Painter, the same Knowledg, the same Study, and Views, are requir'd, as in a real Poet.
Never can the Poet, whilst he justly holds that name, become a Relator, or Historian at large. He is allow'd only to describe a single Action; not the Actions of a single Man, or People. The Painter is a Historian at the same rate, but still more narrowly confin'd, as in fact appears; since it wou'd certainly prove a more ridiculous Attempt to comprehend two or three distinct Actions or Parts of History in one Picture, than to comprehend ten times the number in one and the same Poem.
(2.) Tis well known, that to each Species of Poetry, there are natural Proportions and Limits assign'd. And it wou'd be a gross Absurdity indeed to imagine, that in a Poem there was nothing which we cou'd call Measure or Number, except merely in the Verse. An Elegy, and an Epigram, have each of 'em their Measure, and Proportion, as well as a Tragedy, or Epick Poem. In the same manner, as to Painting, Sculpture, or Statuary, there are particular Measures which form what we call a Piece: as for instance, in mere Portraiture, a Head, or Bust: the former of which must retain always the whole, or at least a certain part of the Neck; as the latter the Shoulders, and a certain part of the Breast. If any thing be added or retrench'd, the Piece is destroy'd. 'Tis then a mangled Trunk, or dismember'd Body, which presents it-self to our Imagination; and this too not thro' use merely, or on the account of custom, but of necessity, and by the nature of the Appearance: since there are such and such parts of the human Body, which are naturally match'd, and must appear in company: the Section, if unskilfully made, being in reality horrid, and representing rather an Amputation in Surgery, than a seemly Division or Separation according to Art. And thus it is, that in general, thro' all the plastick Arts, or Works of Imitation, Whatsoever is drawn from Nature, with the intention of raising in us the Imagination of the natural Species or Object, according to real Beauty and Truth, shou'd be compriz'd in certain compleat Portions or Districts, which represent the Correspondency or Union of each part of Nature, with intire Nature her-self.
And 'tis this natural Apprehension, or anticipating Sense of Unity, which makes us give even to the Works of our inferior Artizans, the name of Pieces by way of Excellence, and as denoting the Justness and Truth of Work.
(3.) In order therefore to succeed rightly in the Formation of any thing truly beautiful in this higher Order of Design; 'twere to be wish'd that the Artist, who had Understanding enough to comprehend what a real Piece or Tablature imported, and who, in order to this, had acquir'd the Knowledg of a Whole and Parts, wou'd afterwards apply himself to the Study of moral and poetick Truth: that by this means the Thoughts, Sentiments, or Manners, which hold the first rank in his historical Work, might appear sutable to the higher and nobler Species of Humanity in which he practis'd, to the Genius of the Age which he describ'd, and to the principal or main Action which he chose to represent. He wou'd then naturally learn to reject those false Ornaments of affected Graces, exaggerated Passions, hyperbolical and prodigious Forms; which, equally with the mere capricious and grotesque, destroy the just Simplicity, and Unity, essential in a Piece. And for his Colouring; he wou'd then soon find how much it became him to be reserv'd, severe, and chaste, in this particular of his Art; where Luxury and Libertinism are, by the power of Fashion and the modern Taste, become so universally establish'd.
(4.) 'Tis evident however from Reason it-self, as well as from[1] History and Experience, that nothing is more fatal, either to Painting, Architecture, or the other Arts, than this false Relish, which is govern'd rather by what immediately strikes the Sense, than by what consequentially and by reflection pleases the Mind, and satisfies the Thought and Reason. So that whilst we look on Painting with the same Eye, as we view commonly the rich Stuffs, and colour'd Silks worn by our Ladys, and admir'd in Dress, Equipage, or Furniture; we must of necessity be effeminate in our Taste, and utterly set wrong as to all Judgment and Knowledg in the kind. For of this imitative Art we may justly say; That tho It borrows help indeed from Colours, and uses them, as means, to execute its Designs; It has nothing, however, more wide of its real Aim, or more remote from its Intention, than to make a shew of Colours, or from their mixture, to raise a[2] separate and flattering Pleasure to the Sense.
See Vitruvius, and Pliny.
The Pleasure is plainly foreign and separate, as having no concern or share in the proper Delight or Entertainment which naturally arises from the Subject, and Workmanship it-self. For the Subject, in respect of Pleasure, as well as Science, is absolutely compleated, when the Design is executed, and the propos'd Imitation once accomplish'd. And thus it always is the best, when the Colours are most subdu'd, and made subservient.