Table-Talk

reconciled to him, because men of his profession were commonly ignorant, and of no consequence otherwise; his holiness, enraged at the bishop, struck him with his staff, and told him, it was he that was the blockhead, and affronted the man himself would not offend: the prelate was driven out of the chamber, and Michaelangelo had the Pope’s benediction, accompanied with presents. This bishop had fallen into the vulgar error, and was rebuked accordingly.”
Besides the exercise of the mind, painting exercises the body. It is a mechanical as well as a liberal art. To do anything, to dig a hole in the ground, to plant a cabbage, to hit a mark, to move a shuttle, to work a pattern⁠—in a word, to attempt to produce any effect, and to succeed, has something in it that gratifies the love of power, and carries off the restless activity of the mind of man. Indolence is a delightful but distressing state; we must be doing something to be happy. Action is no less necessary than thought to the instinctive tendencies of the human frame; and painting combines them both incessantly. 4 The hand is furnished a practical test of the correctness of the eye; and the eye, thus admonished, imposes fresh tasks of skill and industry upon the hand. Every stroke tells as the verifying of a new truth; and every new observation, the instant it is made, passes into an act and emanation of the will. Every step is nearer what we wish, and yet there is always more to do. In spite of the facility, the fluttering grace, the evanescent hues, that play round the pencil of Rubens and Van Dyke, however I may admire, I do not envy them this power so much as I do the slow, patient, laborious execution of Correggio, Leonardo da Vinci, and Andrea del Sarto, where every touch appears conscious of its charge, emulous of truth, and where the painful artist has so distinctly wrought,

“That you might almost say his picture thought.”

In the one case the colours seem breathed on the canvas as if by magic, the work and the wonder of a moment; in the other they seem inlaid in the body of the work, and as if it took the artist years of unremitting labour, and of delightful never-ending progress to perfection. 5 Who would wish ever to come to the close of such works⁠—not to dwell on them, to return to them, to be wedded to them to the last? Rubens, with his florid, rapid style, complains that when he had just learned his art, he should be forced to die. Leonardo, in the slow advances of his, had lived long enough!
Painting is not, like writing, what is properly understood by a sedentary employment. It requires not indeed a strong, but a continued and steady exertion of muscular power. The precision and delicacy of the manual operation, makes up for the want of vehemence⁠—as to balance himself for any time in the same position the ropedancer must strain every nerve. Painting for a whole morning gives one as excellent an appetite for one’s dinner as old Abraham Tucker acquired for his by riding over Banstead Downs. It is related of Sir Joshua Reynolds, that “he took no other exercise than what he used in his painting-room,”⁠—the writer means, in walking backwards and forwards to look at his picture; but the act of painting itself, of laying on the colours in the proper place and proper quantity, was a much harder exercise than this alternate receding from and returning to the picture. This last would be rather a relaxation and relief than an effort. It is not to be wondered at, that an artist like Sir Joshua, who delighted so much in the sensual and practical part of his art, should have found himself at a considerable loss when the decay of his sight precluded him, for the last year or two of his life, from the following up of his profession⁠—“the source,” according to his own remark, “of thirty years’ uninterrupted enjoyment and prosperity to him.” It is only those who never think at all, or else who have accustomed themselves to brood incessantly on abstract ideas, that never feel ennui.
To give one instance more, and then I will have done with this rambling discourse. One of my first attempts was a picture of my father, who was then in a green old age, with strong-marked features, and scarred with the smallpox. I drew it out with a broad light crossing the face, looking down, with spectacles on, reading. The book was Shaftesbury’s Characteristics, in a fine old binding, with Gribelin’s etchings. My father would as lieve it had been any other book; but for him to read was to be content, was “riches fineless.” The sketch promised well; and I set to work to finish it, determined to spare no time nor pains. My father was willing to sit as long as I pleased; for there is a natural desire in the mind of man to sit for one’s picture, to be the object of continued attention, to have one’s likeness multiplied; and besides his satisfaction in the picture, he had some pride in the artist, though he would rather I should have written a sermon than painted like Rembrandt or like Raphael. Those winter days, with the gleams of sunshine coming through the chapel-windows, and cheered by the notes of the robin-redbreast in our garden (that “ever in the haunch of winter sings”)⁠—as my afternoon’s work drew to a close⁠—were among the happiest of my life. When I gave the effect I intended to any part of the picture for which I had prepared my colours; when I imitated the roughness of the skin by a lucky stroke of the pencil; when I hit the clear, pearly tone of a vein; when I gave the ruddy complexion of health, the blood circulating under the broad