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But the hair of the head is another very obvious instance, which, being designed chiefly as an ornament, proves more or less so, according to the form it naturally takes, or is put into by art. The most amiable in itself is the flowing curl; and the many waving and contrasted turns of naturally intermingling locks ravish the eye with the pleasure of the pursuit, especially when they are put in motion by a gentle breeze. The poet knows it, as well as the painter, and has described the wanton ringlets waving in the wind.

And yet to shew how excess ought to be avoided in intricacy, as well as in every other principle, the very same head of hair, whisped, and matted together would make the most disagreeable figure; because the eye would be perplexed, and at a fault, and unable to trace such a confused number of uncomposed and entangled lines; and yet notwithstanding this, the present fashion the ladies have gone into, of wearing a part of the hair of their heads braided together from behind, like intertwisted serpents, arising thick

est from the bottom, lessening as it is brought forP.29. ward, and naturally conforming to the shape of the

rest of the hair it is pinned over, is extremely picturesque. Their thus interlacing the hair in distinct varied quantities is an artful way of preserving as much of intricacy, as is beautiful.

CHAPTER VI.

OF QUANTITY.

FORMs of magnitude, although ill-shaped, will however, on account of their vastness, draw our attention and raise our admiration.

Huge shapeless rocks have a pleasing kind of horror in them, and the wide ocean awes us with its vast contents; but when forms of beauty are presented to the eye in large quantities, the pleasure increases on the mind, and horror is softened into reverence.

How solemn and pleasing are groves of high grown trees, great churches, and palaces? has not even a single spreading oak, grown to maturity, acquired the character of the venerable oak?

Windsor castle is a noble instance of the effect of quantity. The hugeness of its few distinct parts strikes the eye with uncommon grandeur at a distance, as well as nigh. It is quantity, with simplicity, which makes it one of the finest objects in the kingdom, though void of any regular order of architecture.

The Façade of the old Louvre at Paris is also re. P. 30 markable for its quantity. This fragment is allowed to be the finest piece of building in France, though there are many equal, if not superior, to it in all other respects, except that of quantity.

Who does not feel a pleasure when he pictures in his mind the immense buildings which once adorned

VOL. II.

the lower Egypt, by imagining the whole complete, and ornamented with colossal statues ?

Elephants and whales please us with their untvieldy greatness. Even large personages, merely for being so, command respect: nay, quantity is an addition to the person which often supplies a deficiency in his figure.

The robes of state are always made large and full, because they give a grandeur of appearance, suitable to the offices of the greatest distinction. The judge's robes have an awful dignity given them by the quantity of their contents, and when the train is held up, there is a noble waving line descending from the shoulders of the judge to the hand of his train-bearer. So when the train is gently thrown aside, it generally falls into a great variety of folds, which again employ the eye, and fix its attention.

The grandeur of the Eastern dress, which so far surpasses the European, depends as much on quantity as on costliness.

In a word, it is quantity which adds greatness to grace. But then excess is to be avoided, or

quantity will become clumsy, heavy, or ridiculous. P.31

The full-bottom wig, like the lion's mane, hath something noble in it, and adds not only dignity, but sagacity to the countenance * : but were it to be worn as large again, it would become a burlesque; or was an improper person to put it on, it would then too be ridiculous.

When improper, or incompatible excesses meet, they always excite laughter; more especially when the

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forms of those excesses are inelegant, that is, when they are composed of unyaried lines.

For example, the figure referred to in the margin *, represents a fat grown face of a man, with an infant's cap on, and the rest of the child's dress stuffed, and so well placed under his chin, as to seem to belong to that face. This is a contrivance I have seen at Bartholomew-fair, and always occasioned a roar of laughter. The next t is of the same kind, a child with a man's wig and cap on. In these you see the ideas of youth and age jumbled together, in forms without beauty.

So a Roman general f, dressed by a modern tailor and peruke-maker for tragedy, is a comic figure.

The dresses of the times are mixed, and the lines which compose them are straight or only round.

Dancing-masters, representing deities, in their grand ballets on the stage, are no less ridiculous. See the Jupiter Ş.

Nevertheless custom and fashion will, in length of time, reconcile almost every absurdity whatever, to the eye, or make it over-looked.

It is from the same joining of opposite ideas that P.32 makes us laugh at the owl and the ass, for under their awkward forms, they seem to be gravely musing and meditating, as if they had the sense of human beings.

A monkey too whose figure, as well as most of

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his actions, so oddly resembles the human, is also very comical ; and he becomes more so when a coat is put on him, as he then becomes a greater burlesque on the man.

There is something extremely odd and comical in the rough shock dog. The ideas here connected are the inelegant and inanimate figure of a thrum mop, or muff, and that of a sensible, friendly animal; which is as much a burlesque of the dog, as the monkey when his coat is on, is of the man.

What can it be but this inelegance of the figure, joined with impropriety, that makes a whole audience burst into laughter, when they see the miller's sack, in Dr. Faustus, jumping cross the stage? was a wellshaped vase to do the same, it would equally surprise, but not make every body laugh, because the elegance of the form would prevent it.

For when the forms, thus joined together, are each of them elegant, and composed of agreeable lines, they will be so far from making us laugh, that they will become entertaining to the imagination, as well as pleasing to the eye. The sphinx and siren have been

admired and accounted ornamental in all ages. The P. 33 former represents strength and beauty joined ; the

latter, beauty and swiftness in pleasing and graceful forms.

The griffin, a modern hieroglyphic, signifying strength and swiftness, united in the two noble forms of the lion and eagle, is a grand object. So the antique centaur hath a savage greatness as well as beauty

These may be said to be monsters, it's true, but

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