the present mind; it imitates all the fleeting changes
which constitute the signs of present emotion. It is not, therefore, an
abstraction of character which the painter is to represent; not an ideal
form, expressive only of the qualities of permanent character; but an
actual being, alive to the impressions of present existence, and bound
by the ties of present affection. It is in the delineation of these
affections, therefore, that the powers of the painter principally
consists; in the representation, not of simple character, but of
character influenced or subdued by emotion. It is the representation of
the joy of youth, or the repose of age; of the sorrow of innocence, or
the penitence of guilt; of the tenderness of parental affection, or the
gratitude of filial love. In these, and a thousand other instances, the
expression of the emotion constitutes the beauty of the picture; it is
that which gives the tone to the character which it is to bear; it is
that which strikes the chord which vibrates in every human heart. The
object of the painter, therefore, is the expression of EMOTION, of that
emotion which is blended with the character of the mind which feels, and
gives to that character the interest which belongs to the events of
present existence.

3. The object of the painter, being the representation of emotion in all
the varied situations which life produces, it follows, that every thing
in his picture should be in unison with the predominant expression which
he wishes it to bear; that the composition should be as simple as is
consistent with the developement of this expression; and the colouring
such as accords with the character by which this emotion is
distinguished. It is here that the genius of the artist is principally
to be displayed, in the selection of such figures as suit the general
impression which the whole is to produce; and the choice of such a tone
of colouring, as harmonises with the feelings of mind which it is his
object to awaken. The distraction of varied colours--the confusion of
different figures--the contrast of opposite expressions, completely
destroy the effect of the composition; they fix the mind to the
observation of what is particular in the separate parts, and prevent
that uniform and general emotion which arises from the perception of one
uniform expression in all the parts of which it is composed. It is in
this very perception, however, that the source of the beauty is to be
found;