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Show T H E COMPOSITION OF BALLETS. 171 in his art, nothing was impossible. Often, when treating on subjects universally known, the fertility of his genius, aided by the profound knowledge of his art, surprises and delights by the manner in which objects are presented to us, and by the new forms in which they are clothed. W e always find nature in him, but it is nature made beautiful and perfect. Whatever is disgusting and unworthy of representation, or that requires a veil, is but dimly discovered in his works. Raphael has improved upon the beauties of the antique; he is as true, perfect, and sublime as the statuaries of Greece, and more universal and lovely: he, above all others, exhibits the beau ideal. Never did any man create and compose as he. A n harmonious union is the characteristic of all his works, and produces the most wonderful effect. Every constituent part is arranged with taste ; his manner of grouping is charming ; every object being placed with unerring propriety. He has sometimes assembled things the most heterogeneous, but he has charmed them into union by the magic of his touch. The Vision of Ezekiel, together with some other allegorical pictures, exhibit a power of grouping at once gigantic and extraordinary. Here it is that the talent of ennobling every thing is carried to the highest point of perfection. The great painters present to persons who are composing for the stage, advantages not possessed by writers ; for at the same moment that the former present the fable of a piece, they exhibit, also, the physical effect of the passions upon each actor in the scene. The imagination of young persons, while reading a dramatic, piece, may indeed supply a representation of things described; but if they are not formed by study and nature, such imagery may be defective, and, accordingly, appear so at the theatre, by a flat and faulty style of performing. If, therefore, the best painters faithfully imitate the most beautiful parts of na- |
