which is here wanting, is of all things the hardest to counterfeit, either in art or in reality, especially by inanimate means. And the more animated and active any scene is, the more diffi. cult it is adequately to represent it in art. A verdant landscape, replete with vegetable life, is less easy to portray than a dead rock; and the working of passion and feeling in the human countenance, than an inanimate portrait. Indeed, in this kind of painting the skill of the artist is tested by the fact whether he endows it with life and action, or with the outward semblance only; whether he penetrates to the soul, or only reaches the surface; whether he depicts the mere features, or conveys to us the real image of the mind. As works of art are addressed not only to the senses but to the soul, so they should not merely represent living objects, but, like them, be endowed with animation; and not with form alone, but also with character and spirit. Poetry, eloquence, and music are in several respects fully adapted for the representation of vital action, more especially through the descriptions of it which they are capable of affording. Music, indeed, in many ways describes, and in a direct manner, vital action, both by representing the motions of living beings, and by imitating their cries. An illustration of this is afforded by Handel's oratorio of 'Israel in Egypt,' where the sounds produced by the motions of the frogs and flies is directly and very effectively imitated.

In acting alone, however, vital action as well as motion, is capable of being fully represented; and here, indeed, it exists. in reality. Its defect is not that it is not real, but that it is not always true to nature.

Architecture and gardening are, of course, wholly inadapted in a direct manner alike for motion and for vital action. Indirectly, however, the former, if not the latter of these operations, is, to a certain extent, represented by these arts where fountains or running streams constitute a part of the composition. Costume represents vital action so far as it serves to afford to the frame which it covers the free opportunity for this exercise.

V. Where the action represented consists merely in the transient movement of a single figure, this may be considered to be independent in itself, and as having no direct or necessary

relation to the motion which has preceded it, or to that which is to follow. In most cases, however, where an important event is to be described, an effort is made to portray that particular period in the progress of the transaction which is not only the most striking and important, but which may be regarded as representative in itself of the entire proceeding, so far as serving to show its general character and tendency. The action present has in such a case direct relation to, and is absolutely dependent on that which has immediately passed, and on that which is immediately to succeed. It is imperfect in itself, and perfect only so far as it serves to perform its part in uniting the chain of the narrative.

Hence, what is here meant by continuous action, consists in the representation through the medium of art, of the actual and real vivid and active progress of a transaction, and that not only as regards the direct portrayal of the scene which is immediately occurring, but also as regards the indirect, though probably hardly less forcible and truthful representation of those stages of the event which have recently passed by, and those which are immediately to follow, and are inseparably connected with that which is now taking place. The aid of the reason, and to a certain extent of the imagination also, is called in here; but they are appealed to by inferences so obvious which are brought immediately before them and offered to their notice, that the process is performed without any difficulty; and, indeed, the operation of the mind is so impulsive that it appears to be almost spontaneous, if not irresistible.

Continuous action, indeed, is like the current of a river, which has relation to the stream both above and below, and is never stationary for a moment. Even what it possesses of present existence, is relative to and inseparable from the preceding and the future.

In compositions in painting, and upon the principles already deduced, the efficient representation of continuous action may be fully accomplished; and the examples in works of art of this kind cited in the present chapter, show the extent to which this has been done. Raphael's cartoon of the Sacrifice at Lystra,' affords a fine illustration of the principle before us, in the com

position of which is narrated what has lately passed in the transaction, as well as what is about to follow. This is also successfully attained in the 'Last Judgment,' by Michael Angelo.

In sculpture, this is only less completely effected than in painting, because the composition is more simple, and consequently affords fewer facilities for the representation of a complicated transaction. Examples are nevertheless not wanting which evince that in sculpture this result is fully attainable; as for instance, in many of the designs in the Elgin Marbles, in which continuous action is very efficiently described, as also in the group of the Laocoon.

In compositions in architecture, costume, and gardening, no direct representation of continuous action can be effected, although much here may be done in the way of suggestion as regards the several parts of the design that are comprehended in the whole composition, ideas respecting which the portion immediately presented to the eye serves to afford correct and adequate notions.

By means which it is unnecessary to detail, poetry and eloquence are capable of accomplishing the representation of continuous action to a very full, and indeed to a perfect extent; although perhaps here they are even exceeded by the art of music.

In descriptions or narrations by each of these arts, continuous action appears, indeed, of all species of action, to be the most appropriate, and as it were the natural province. But music from its nature has peculiar power in the representation of continuous action, being in this respect the exact counterpart to painting, sculpture, and architecture, which are in themselves essentially and utterly motionless, while the very principle of music is continuous motion.

Acting is not only completely adapted for the representation of continuous action, but continuous action is itself actually essential for the sustenance of efforts in this art, and is perhaps the main basis of its operations.

VI. Not merely, however, if nature is truly to be represented, are motion and action, and also continuous action to be portrayed, but that which has not only immediately, but which has

ACTION PAST, PRESENT, AND PROSPECTIVE.

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for some time passed; and that which is not only immediately, but which is for some time prospective, as well as immediately past and present action, must be described. Different arts differ extensively as to their capability to effect this end; and some of those which appear the least adapted to represent motion, such as painting and sculpture, exhibit to us with the greatest clearness that which is past and prospective; while certain arts, such as music and acting, whose peculiar province it is to express motion, are here, to a large extent, unsuccessful. Suggestion is, of course, in many cases, much more potent and more efficient in the representation of action, past and prospective, than is direct description, inasmuch as its sphere is far more extended.

By the skill of the artist in some of the great efforts in historical composition in painting, we have represented to us with perspicuity and energy, not only the transaction which is in actual progress and continuous, but that also which has recently happened, and that moreover which is about to take place, and which are more or less independent of and unconnected with the event that is immediately occurring. Thus, in the cartoon by Raphael, of 'The Beautiful Gate of the Temple,' we behold not merely the action in progress of commanding the lame man to rise, but are informed of what has lately been done by the principal objects in the scene, and of the sacrifices about to take place. Raphael's cartoon of 'The Death of Ananias,' is also a fine illustration of the successful representation by pictorial art of action at once past, present, and prospective; where the past acts of Ananias are denoted by his position, and the attitude and expression and demeanour of those about him; while the approach in the background of the persons who are to carry him to his burial, and of his wife who is soon to follow his example and his fate, narrate to us no less forcibly what will shortly happen.

Poetry and eloquence have, however, here the greatest power to accomplish the desired purpose, as their range is as unbounded as is the extent of the subject they describe. That, moreover, which painting and sculpture can effect only by suggestion, they attain by literal narration. Architecture can

do nothing directly as regards the representation or record of action, either past or prospective. Indirectly, indeed, it may attain this object so far as it serves to raise trophies of achievements which have happened in times past, or to usher in those about to be performed.

Gardening is also, of course, wholly inadapted directly to represent action, either past present or prospective. In one respect, indeed, it may be said indirectly to narrate action, both past and prospective, so far as the fading of the flowers and leaves tells us of the glories of the summer that has passed away, and of the rude blasts and storms of winter that are approaching; while the buds and early shoots proclaim in turn the coming spring. This circumstance may, moreover, serve to remind us that a valuable hint as to the mode of narration in historical composition, may be obtained from nature herself in many of the scenes she displays, especially those of the kind just alluded to. So in observing a storm, we see at once the devastation which has ensued, and also what is threatened, as well as learn the condition of the objects represented before it broke out. A ruin, too, tells us alike of the decay now progressing, and of the former state of the impaired edifice.

Costume can only be said to represent or typify past or future action, so far as it is either emblematical of certain customs or actions which were performed in past ages; or as it serves, as in the case of armour, or costume adapted for dramatic purposes, to suggest those particular actions in which it especially adapts the wearer of it to partake.

VII. The importance of maintaining the unity of the subject in artistical composition of each kind, has already been demonstrated in the preceding chapter.* No less essential is the preservation of unity of action among all the different personages in a transaction which forms the topic of artistical description or narration. Indeed, however busily engaged the several individuals represented in a composition of this kind may appear to be, and however various the nature of the different actions carried on, it is of essential importance that a

* Vide ante, Chapter IX. Sect. 7.