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Show 526 THE CODE OF TERPSICHORE. the images which she presents with the greatest truth. The illusion of the scene ought to be so perfect, as to cause what is merely artificial to appear real, during the time of its representation. Neither a picture nor abaliet can be deemed excellent, unless the art used in producing it is so far kept down, that nature only is admired in it; art should do its work unseen ; its greatest triumph is to conceal itself. W h e n the artists of the latter end of the seventeenth and the beginning of the eighteenth century, in their various compositions, substituted a false and studied affectation for simplicity ; confusion for clearness; mannerism for grace; the monstrous for the grand; the ridiculous for true sublimity, art lost her attractions, and men of pure taste could no longer imitate her. These artists spared no pains to render their pictures pleasing, by their vivacity and the splendour and variety of their colours. For tins purpose, they decked their designs with gold and silver, precious stones, gorgeous drapery, and " luxury's most costly chattels." They sought to dazzle and astonish the multitude. Persons they looked upon as mere accessary objects in their compositions. They did not trouble themselves to inquire if they had to represent Romans or Egyptians, ancients or moderns-whether the same or a different costume ought to be adopted, or if different, in what the variations consisted-whether the action which they were about to paint occurred in Constantinople or Paris, in Mexico or Madrid; if nature, manners and customs were the same in all countries; if they ought to display gods or men, heroes or peasants, virtue or vice. T o this ignorant system, w e are indebted for Caesars in " the turbans of the Moslems," the heroes of ancient romance clad in the Spanish costume, and a number of |
