lican. Pelisse. Pepin (Martin). Perrault (Claude). Perera (Emanuel Frocas). Peruzzi. Peter Martyr. Peter I. Petit (John Louis). Petri (Rodolph). Philip the Good. Philip the Bold. Pianus. Pithou (Francis). Plato. Pope. Porta. Ptolemy (Claudius). Puteanus (Ericus). Putnam (Israel). Quesnel. Quesnoy. Raphael. Rabelais (Francis). Razenstein (Henry). Retz (Cardinal de). Rhenferd (James). Rhyne (William). Ricciardi (Thomas). Richelieu. Rigaud. Rombouzt (Theodore). Ronsard. Rouse (Gerard). Rubens. Rudolph II. Rufus. Ruysch. Savanarola. Schmidt von Schwartzenhorn. Scalichius (George). Saurin. Savoy (Thomas Francis de). Savoy (Francis Thomas de). Savoy (Charles Emanuel de). Sachtleven (Cornelius). Sachs (Hans). Schramm (George Gotlieb). Sebizius. Seghers (Gerhard). Segers (Gerard). Seba (Albert). Skadey. Scarron. Scaglia (Cæsar Alexander). Sixtus V. Sortia. Scuderi (Magdelaine de). Schwenkfeld, Schutt (Cornelius). Scheuchzer (James). Schoepflin (Daniel). Schorer (Leonard). Socrates. Sonnenfels. Sophocles. Sorbon. Spanheim (Frederic). Spener (Philip James). Spinosa. Sturm von Sturmegg. Sayra (Abbé). Seide (Francis). Swift. Schuil. Tabourin (Thomas). Tassis (Anthony). Taulerus (John). Tindal. Titian. Titus. Thou (Gerard de). Thou (Augustus de). Thourneuser (Leonard). Thoyras (Rapin de). Thuanus. Thoulouse (Montchal de). Uden (Lucas von). Uladislaus VI. Uladislaus King of Poland. Ulrich (James). Ursius (Honorius). Ursinus. Valette. Vanloo. Warin (John). Wasener (James). Weiss (Leonard of Augsburg), Werenfels. Vesalius. Vespasian. Vespucius (Americus). Viaud (Theophilus de). Wildes (John). William King of England. Villeroy (Marquis). Willis (Richard). Wurtemberg (Everard Duke of). Vitrii (Anthony). Wolf (Christian). Volkammer (George). Voltaire. With (Conrad). Vopper (Leonard). Vorster (Lucas). Voss (Simon). Vouet. Zampier. Zinzendorf. Zuinglius. Ziska (John).

73

IV.

UPON PORTRAIT PAINTING.

THE most natural, manly, useful, noble, and, however apparently easy, the most difficult of arts is portrait painting. Love first discovered this heavenly art. Without love what could it perform?-But what love?— And the lover-who?

Since a great part of the present work, and the science on which it treats, depend on this art, it is proper that something should be said on the subject.-Something-For how new, how important, and great a work might be written on this art! For the honour of man, and of the art, I hope such a work will be written. I do not think it ought to be the work of a painter, however great in his profession, but of the understanding friend of physiognomy, the man of taste, the daily confidential observer of the great portrait painter.-Sultzer, that philosopher of taste and discernment, has an excellent article, in his dictionary, on this subject, under the word portrait. But what can be said, in a work so confined, on a subject so extensive?

Again, whoever will employ his thoughts

on this art, will find that it is sufficient to exercise all the searching, all the active powers of man; that it never can be entirely learned, nor ever can arrive at ideal perfection.

I will endeavour to recapitulate some of the avoidable and unavoidable difficulties attendant on this art. The knowledge of these, in my opinion, is most necessary, as well to the painter as to the physiognomist.

What is portrait painting? It is the communication, the preservation of the image of some individual, or of some part of the body of an individual: the art of suddenly depicting all that can be depicted of that half of man which is rendered apparent, and which never can be conveyed in words.

If what Göthe has somewhere said be true, and in my opinion nothing can be more truc, that the best text for a commentary on man is his presence, his countenance, his form-how important then is the art of portrait painting;

To this observation of Göthe's I will add a passage, on the subject, from Sultzer's excellent dictionary.

"Since no object of knowledge whatever can be more important to us than a thinking and feeling soul, it cannot be denied but that man, considered according to his form,

even though we should neglect what is wonderful in him, is the most important of visible objects."

Were the portrait painter to know, to feel, to be penetrated with this; penetrated with reverence for the greatest work of the greatest master; were such the subject of his meditation, not from constraint, but native sensation; were it as natural to him as the love of life, how important, how sacred to him, would his art become!-Sacred to him should be the living countenance as the text of holy scripture to the translator. As careful should the one be not to falsify the work, as should the other not to falsify the word, of God.

How great is the contempt which a wretched translator of an excellent work deserves, whose mind is wholly inferior to the mind of his original.—And is it not the same with the portrait painter? The countenance is the theatre on which the soul exhibits itself; here must its emanations be studied and caught. Whoever cannot seize these emanations cannot paint, and whoever cannot paint these is no portrait painter.

"Each perfect portrait is an important painting, since it displays the human mind with the peculiarities of personal character. In such we contemplate a being in which understanding, inclinations, sensations, pas

sions, good and bad qualities of mind and heart are mingled in a manner peculiar to itself. We here see them better, frequently, than in nature herself; since in nature nothing is fixed, all is swift, all transient. In nature, also, we seldom behold the features under that propitious aspect in which they will be transmitted by the able painter."

Could we indeed seize the fleeting transitions of nature, or had she her moments of stability, it would then be much more advantageous to contemplate nature than her likeness; but, this being impossible, and since likewise few people will suffer themselves to be observed, sufficiently to deserve the name of observation, it is to me indisputable that a better knowledge of man may be obtained from portraits than from nature, she being thus uncertain, thus fugitive.

"Hence the rank of the portrait painter may easily be determined; he stands next to the painter of history. Nay history painting itself derives a part of its value from its portraits: for expression, one of the most important requisites in historical painting, will be the more estimable, natural, and strong, the more of actual physiognomy is expressed in the countenances, and copied after nature. A collection of excellent portraits is highly advantageous to the