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them forcibly, and makes them more or lefs ftirring as the Action is more or lefs violent. 8. An artful Complication of Folds in a circular Manner, greatly helps the Effect of Forefhortenings. 9. All Folds confift of two Shades and no more; which you may turn with the Garment at Pleasure, fhadowing the inner Side deeper, and the outer more faintly. 10. The Shades in Silk and fine Linen are very thick and small, requiring little Folds and a light Shadow. 11. Obferve the Motion of the Air or Wind, in order to draw the loose Apparel all flying one Way; and draw that Part of the Garment that adheres clofeft to the Body, before you draw the loofer Part that flies off from it; left by drawing the loose Part of the Garment firft, you should miftake the Position of your Figure, and place it awry. 12. Rich Ornaments, when judicioufly and fparingly us'd, may fometimes contribute to the Beauty of Draperies. But fuch Ornaments are far below the Dignity of Angels or heavenly Figures; the Grandeur of whofe Draperies ought rather to confift in the Boldness and Nobleness of the Folds, than in the Quality of the Stuff, or the Glitter of Ornaments. 13. Light and flying Draperies are proper only to Figures in great Motion, or in the Wind but when in a calm Place, and free from violent Action, their Draperies fhould be large and flowing; that by their Contraft, and the Fall of the Folds, they may appear with Grace and Dignity. And thus much for Drapery, fome few Examples of which you will find in Plate 10. I will now endeavour to give you a Taste of that, which tho' it may be the most difficult, is certainly the most agreeable Part of this Study, I mean the Art of expreffing the Paffions.

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LESSON IX.

On the Paffions.

HE Paffious, fays Mr. Le Brun, are Motions of the Soul, either upon her purfuing what fhe judges to be for her good, or fhunning what fhe thinks hurtful to her; and commonly, whatever caufes Emotion of Paffion in the Soul, creates alfo fome Action is the Body. It is therefore neceffary for a Painter to know which are the different Actions in the Body that exprefs the several Paffions of the Soul, and how to delineate them. But firft of all, it may be proper you fhould

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fhould learn fomewhat of the Syftem of the Paffions, and their Connection with and Relation to each other; I will therefore give you a fhort moral Account of them from Mr. Watts..

"An Object which is fuited to excite the Paffions, fays he, "must have one of these three Properties, viz, it must be either, 1. Rare and uncommon; or, 2. Good and agreeable; or, 3. Evil and difagreeable: Or at least we must have fone fuch Ideas and Apprehenfions of it before it can excite "any Paffion in us.

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"Now if we will diftinguish the chief Paffions of our Na"ture according to their Objects, and confine ourselves to

the common Words and Names whereby they are usually "called, we may make three Ranks of them; which, for "Diftinction's fake, I fhall name the firft, fecond, and third "Rank. The two first are Primitive, the third is Deri vative.

"The first Rank of Paffions are thefe three; Admiration, "Love, and Hatred.

"If the Object be rare or uncommon, it excites Admiration or Wonder.

"If we look on it as good, or any way agreeable to us, "it may engage our Love; but if it be evil or difagreeable, "it moves our Hatred.

"The fecond Rank of chief Paffions are the divers Kinds "of Love and Hatred, which are alfo diftinguished by their "Objects.

"If the Object appear valuable, it raises a Love which we "call Efteem; if worthless, the Hatred is called Contempt. "If the Object appear fit to receive Good from us, it is Love of Benevolence, or Good-will: If it appear rather fit "to receive Evil from us, the Hatred is called Malevolence, or Ill-will.

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"If the Object appear pleafing, and fit to do us good, "it raises the Love of Complacence, or Delight; if it be dif pleafing, and unfit to do us good, it excites a Difplicence, or Diflike.

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"From Love and Hatred in their different Kinds, (but "chiefly from Complacence and Difplicence) arise several "more chief Paffions, which may be called the third Rank, and which are alfo diftinguished by their Objects.

"Note, In this Pair of Paffions, and in all the third Rank, "which is chiefly derived from them, the pleafing Object is more properly called Good, and the difpleafing Object is

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more properly called Evil, than in the Paffions before " mentioned.

"If the Good be abfent or unpoffeffed, and poffible to be "obtained, the Paffion of Love grows up to Defire; if the "Evil may poffibly come upon us, the Hatred expreffes its "felf in Averfion, or Avoidance, Though there may be alfo r an Averfion to fome Evil from which we are fufficiently ❝ fecure.

"If there be any Profpect of obtaining the absent Good, "the Paffion excited is Hope; but if the absent Evil be likely to come upon us, it raises the Paffion of Fear.

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"Fear alfo raifes from a prefent or expected Good in dan66 ger of being loft: And there is a Hope of Security from "fome absent threatening Evil, or of Deliverance from some "Evil that is prefent.

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"If the Good be actually obtained, or the Evil prevented, "it excites Joy and Gladness; if the Good be actually lost, the Evil come upon us, it caufes Sorrow or Grief. "Whoever helps us to attain this Good, or prevents the "Evil, excites in us Gratitude: Whofoever hinders our "Attainment of Good, or promotes the Evil, raises our "Anger.

"There are very few, if any, of the Paffions for which "we have any Name, and which are usually taken notice "of in the Heart of Man, but what may be reduced to fome or "other of these general Heads. And tho' I don't pretend "to lay down this Diftinction and Arrangement of the Paf"fions of Man, as an uncontroverted or certain Thing; yet upon the beft Survey I can take of the various Workings "of the Heart, as well as of the feveral Authors who have "written on this Subject, I don't find any of them lead me "into an easier or better Scheme than this."

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Thus far Mr. Watts: Which, as it is a concife, as well as fenfible Account of the Paffions, I thought it not improper to put into your Hands at this Time; for though it be not directly to the Purpose, yet it is far from being altogether foreign to it; fince he who fearches into and understands the fecret Springs and Causes of the Paffions, will in all Probability exprefs them with greater Judgment and Spirit, than he who merely copies them from the external Appearance.

Mr. Le Brun has been extremely happy in expreffing many of the Paffions, and you cannot ftudy any thing better than the Examples which he has left us of them; fome of which are carefully copy'd in the Plate which correfponds to this Lef

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fon. However, I am of Opinion, with Mr. De Piles, that it is abfurd as well as impoffible to pretend to give fuch particular Demonftrations of them as to fix their Expreffion to certain Strokes, which the Painter fhould be obliged to make use of as effential and invariable Rules. This, fays he, would be depriving the Art of that excellent Variety of Expreffion, which has no other Principle than Diverfity of Imagination, the Number of which is infinite. The fame Paffion may be finely expreffed several Ways, each yielding more or lefs Pleafure in proportion to the Painter's Understanding, and the Spectator's Difcernment.

Tho' every Part of the Face contributes toward expreffing the Sentiments of the Heart, yet the Eye-brow, according to Mr. Le Brun, is the principal Seat of Expreffion, and where the Paffions beft make themselves known. 'Tis certain, fays he, that the Pupil of the Eye, by its Fire and Motion, very well fhows the Agitation of the Soul, but then it does not exprefs the Kind or Nature of fuch an Agitation; whereas the Motion of the Eye-brow differs according as the Paffions change their Nature. To exprefs a fimple Paffion, the Motion is fimple; to express a mixt Paffion, the Motion is compound if the Paffion be gentle, the Motion is gentle; and if it be violent, the Motion is fo too. We may obferve farther, fays he, that there are two Kinds of Elevation in the Eyebrows. One, in which the Eye-brows rife up in the Middle; this Elevation expreffes agreeable Senfations; and it is to be obferved that then the Mouth rifes at the Corners: Another, in which the Eye-brows rife up at the Ends, aud fall in the Middle; this Motion denotes bodily Pain, and then the Mouth falls at the Corners. In Laughter all the Parts agree; for the Eye-brows, which fall toward the Middle of the Forehead, make the Nofe, the Mouth, and the Eyes, follow the fame Motion. In Weeping, the Motions are compound and contrary, for the Eye-brows fall toward the Nofe and over the Eyes, and the Mouth rifes that way. 'Tis to be observed alfo that the Mouth is the Part of the Face which more particularly expreffes the Emotions of the Heart: For when the Heart complains, the Mouth falls at the Corners; when it is at Eafe, the Corners of the Mouth are elevated; and when it has an Averfion, the Mouth fhoots forward, and rises in the Middle.

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"The Head, fays Mr. De Piles, contributes more to the Expreffion of the Paffions, than all the other Parts of the Body put together. Thofe feparately can only fhow fome

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"few Paffions, but the Head expreffes them all. Some, "however, are more peculiarly exprefs'd by it than others; "as, Humility, by hanging it down; Arrogance, by lifting "it up; Languifhment, by inclining it on one Side; and "Obitinacy, when with a ftiff and refolute Air it ftands "upright, fixt, and ftiff between the two Shoulders. The "Head alfo best shows our Supplications, Threats, Mildness, Pride, Love, Hatred, Joy, and Grief. The whole Face, "and every Feature, contributes fomething; efpecially the "Eyes, which, as Cicero fays, are the Windows of the Soul. "The Paffions they more particularly discover are, Pleasure, Languishing, Scorn, Severity, Mildness, Admiration, and Anger; to which one might add Joy and Grief, if they did "not proceed more particularly from the Eye-brows and "Mouth ; but when those two Paffions fall in alfo with the "Language of the Eyes, the Harmony will be wonderful. "But tho' the Paffions of the Soul are most vifible in the Lines "and Features of the Face, they often require the Affistance "alfo of the other Parts of the Body. Without the Hands, "for Inftance, all Action is weak and imperfect; their Motions, which are almoft infinite, create numberless Expref"fions: It is by them that we defire, hope, promife, call, fend back; they are the Inftruments of Threatening, Prayer, "Horror, and Praife; by them we approve, condemn, refuse, "admit, fear, afk; exprefs our Joy and Grief, our Doubts, "Regrets, Pain, and Admiration. In a word, it may be "faid, as they are the Language of the Dumb, that they "contribute not a little to speak a Language common to all "Nations, which is the Language of Painting. But to fay "how these Parts muft be difpos'd for expreffing the various "Paffions, is impoffible; nor can any exact Rules be given "for it, both because the Task would be infinite, and be"caufe every one must be guided in this by his own Genius, "and the particular Turn of his own Studies."

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All that I have farther to add on this Leffon, is to tell you, that the Examples of the Paffions, which are here fet before you for your Imitation, are taken from the beft Mafters, and endeavoured to be contrafted in fuch a Manner as to heighten and fet off each other, and engage you more agreeably in the Study of them.

LESSON

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