this respect as extensively as they do in their essential nature. Nevertheless, to each of the arts, although in a different manner, may these principles be applied. Here, perhaps, I ought to premise that the term narration I have adopted mainly with regard to the representation of a passing event or story, while description is most properly used with reference to a transaction which is not actually progressing. This observation may be applied to each of the arts, as in each narration and description are the leading modes by which the whole operation is carried on. In painting, sculpture, poetry, and eloquence, this is at once obvious. But it is, in reality, no less so in music and in architecture. In the former of these a sound is described, or indeed narrated, being strictly imitated; and by the associations created, even a scene may be represented. As regards painting, sculpture, poetry, eloquence, music, and acting, these arts are each fitted alike for description, narration, and the representation of action in a direct manner. But with regard to architecture, gardening, and costume, although they may be also adapted both for description and narration, and the representation of action, they are not fitted for them in a direct, but only in an indirect manner, and are merely able to effect them. emblematically or symbolically instead of really or literally; as will be seen from the examples of their operation adduced in the following sections of this chapter. Perhaps, indeed, these latter arts may be deemed by some to be strictly in their nature suggestive only, rather than either emblematical, symbolical, or typical, in respect to their mode of describing, narrating, and representing action. The arts differ, moreover, both in their manner of attaining these great objects, and as regards the power with which they achieve them; as do even those, such as poetry and painting and sculpture, which are most nearly allied to each other. Thus, in poetry, a transaction may be described, not only at the precise period when the principal event to be recorded is taking place, but narrated also in its various stages and proceedings; the mind may be gradually introduced to the event, and the description continued and carried on through all the MOTION, HOW REPRESENTED. 29 circumstances connected with it. In painting and sculpture, however, that instant of time alone in which the action to be represented is achieved, is that which can be actually availed of; although in painting, which admits of a fuller account, and has more scope here than what sculpture possesses, the description may in some measure serve to inform us of what has just preceded, and what is immediately to follow. The two leading variations of profile and full face serve not inaptly to typify the modes of representation in pictorial art; the first giving more distinctly and forcibly the leading characteristics of the features, the other portraying them more completely and comprehensively, although with less vigour. The main point to be observed in the selection of a period of representation or description in each of these different arts, is to choose that time which, according to the principle enunciated in the preceding section, serves to afford at once the most complete idea of the critical event in the transaction, and the display of its most important results, as regards the personages represented in the piece. It is essential, indeed, that the moment described in a composition in painting or sculpture, where one period only of the story can be narrated, should not only be the most important in its nature, but what might be termed the most representative; that is the precise period which will best serve to convey a general idea of the spirit and quality of the transaction as a whole. Such is the crisis in a tragical tale. A description must, moreover, be sufficient not only to excite ideas respecting, but to afford a representation of a transaction. Any rude design or reference to it may suffice for the former; but it is the province of art only to supply the latter. The descriptions by art, as in nature, should not merely be real but living. The most powerful narrations are, however, often the simplest, as the deepest streams are also the most placid. We have an example of this in some of the sublimest parts of the Holy Scriptures, especially in the account of the creation. Moreover, both in narration and description, in all the arts alike, there is as much skill evinced in knowing when to end, as where to select the period for representation. III. Of all the different conditions which are the subject of artistical representation, there is none more important, and, at the same time, more difficult efficiently to describe than that of motion, in which state of being a large number of objects in nature are constantly existent, and which is, indeed, the ordinary condition under which a considerable proportion of them are viewed. The representation of objects in motion is, therefore, essential to be attained, if nature is faithfully to be portrayed. Different arts differ, of course, extensively as to their adaptation to effect this end; as while some of them, such as poetry, music, and dramatic acting seem especially qualified for the description of motion, and indeed are but very imperfectly fitted for that of stationary objects; others, such as painting and sculpture, and more especially architecture and gardening, appear from their nature wholly unadapted to represent motion of any kind. I shall, therefore, endeavour to consider each of these arts in their order as regards their particular capacity for the end before us. The representation of motion in painting or sculpture by figures, which, from the nature of the art, must remain perfectly stationary, will necessarily be an object of some difficulty efficiently to attain, and might, at first sight, appear wholly impractical. It is effected, however, to some extent, and mainly in two ways:-(1.) By a representation of such an attitude of the figure as will necessarily denote its being in action, as a posture of running or flying. (2.) By the representation of the appearance of certain adjuncts, which, from their very nature, are necessarily more or less in motion; such as drapery blowing in the wind, the sea when agitated into waves. Some figures, on the other hand, are, from their kind, quite unfitted for motion, and whenever represented are, without any effort of the artist, at once perceived to be stationary, such as mountains and houses. It is to be observed, however, that, even in real objects, all motion is not perceivable. Some bodies, as a bullet from a pistol, fly so swiftly that we cannot see them move; others, as the hands of a clock, move so slowly that their motion is invisible to us. It is therefore only motion of a moderate or MOMENTARY ATTITUDES REPRESENTATIVE OF MOTION. 31 middle kind, which alone we can perceive, that we are called upon to represent. Real motion itself, indeed, we are wholly unable to depict, but can only describe objects as they appear in motion. Thus, although on the one hand, on viewing them, we know at once by their appearance that they are moving; yet, on the other hand, we view them but for a moment, and only in one position. Painting should therefore both represent them as they are seen when moving, and should fix on some particular attitude in which they actually appear for the moment, and in which they may be fairly represented with perfect truth to nature, as in the case of a flying bird, a ship in a storm, or an army in battle. The image of the object or scene is retained in the eye after a momentary glance at it, as it was visible at that transient instant, and is not obtained from examining and comparing the various movements that occurred. So should it be in pictorial representation, which but follows that which nature effects. Of these different movements, that which is the most striking and affecting should, with judgment, be selected. Certain objects whose motion is constant, appear, nevertheless, motionless, where that motion is regular and unvarying, and does not change the actual position of the object; as in the case of a waterfall, a shower of rain, a storm, the sea raging when viewed at a distance, a ship sailing, and a carriage travelling towards us. These objects may, therefore, be correctly and efficiently represented in painting. The chief use of drapery is like that of sails, to assist in action, and to point out the motion of the figure, or rather to second the impression, created by its attitude. It aids however, when so applied, as well to denote repose as action. Flying hair or drapery, like agitated water, must necessarily represent motion, because its position is such that it cannot be permanent, and can only exist in a state of motion. For the description of motion, poetry is on the whole more adapted than painting, especially as regards the variety of different motions. But poetry is here perhaps, after all, rather suggestive than descriptive. At least it is far more powerful and successful in suggestion than in description. Painting, on the other hand, which is so successful in description, effects but little by suggestion. There is indeed this essential distinction between the narrations effected by painting and sculpture on the one hand, and by poetry, eloquence, and music on the other; that while the representations of the former are from their nature, whatever be their subject, always necessarily stationary and immovable, those of the latter are always necessarily moving and changing. An effective description of motion in a confused irregular multitude rapidly hurrying along in disorder, accompanied by discordant noises of different kinds, and which is much heightened by apt comparisons, is contained in the following passage from Chaucer, relating to the pursuit of the fox which had run off with a cock in the widow's farmyard: "They crieden, out! harow and wala wa! A ha the fox! and after him they ran, The dokes crieden as men wold hem quelle : A fine and striking representation of the action of a huge living body, is afforded by the following passage in Dante,† where Geryon is described as rising into and flying through the air. The account of his stupendous size, of the efforts that he puts forth, and of his motion while flying, together with the suggestions introduced to set off the narration, alike conduce to give vigour to the scene: * Canterbury Tales;' the Nonnes Preestes Tale. † Inferno, canto 17. |