FAITHORNE, William ( v. 1616-1691 )
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
And notwithstanding the Defects I have taken the Liberty to remark with the same Indifferency as I have observed the Beauties, that is, without the least regard to the Great Name of the Master, There is a Grace throughout that Charms, and a Greatness that Commands Respect [ndr : dans le portrait de la comtesse Dowager d’Exeter, par Van Dyck]; She appears at first Sight to be a Well-bred Woman of Quality ; ‘tis in her Face, and in her Mien ; and as her Dress, Ornaments, and Furniture contribute something to the Greatness, the Gause Veil coming over her Forehead, and the Hem of it hiding a Defect (which was want of Eye-brows,) is a fine Artifice to give more Grace. This Grace, and Greatness is not that of Raffaelle, or the Antique but ‘tis what is suitable to a Portrait ; and one of Her Age, and Character, and consequently better than if she had appear’d with the Grace of a Venus, or Helena, or the Majesty of a Minerva, or Semiramis.
Quotation
Never was a Calm Becoming Sorrow better Express’d than in this Face [ndr : il s’agit du portrait de la Comtesse Dowager d’Exeter, par Van Dyck] chiefly there where ‘tis always most conspicuous that is in the Eyes : Not Guido Reni, no, nor Raffaelle himself could have Conceiv’d a Passion with more Delicacy, or more Strongly Express’d it ! To which also the Whole Attitude of the Figure contributes not a little, her Right Hand drops easily from the Elbow of the Chair which her Wrist lightly rests upon, the other lies in her Lap towards her Left Knees, all which together appears so Easy, and Careless, that what is Lost in the Composition by the Regularity I have taken notice of, is Gain’d in the Expression ; which being of greater Consequence justifies V. Dyck in the main, and shows his great Judgment, for tho’ as it Is, there is (as I said) something amiss, I cannot conceive any way of Avoiding That Inconvenience without a Greater.
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Beauty, and Harmony of the Colouring gives Me a great Degree of Pleasure [ndr : dans le portrait de la comtesse Dowager d’Exeter par Van Dyck] ; for tho’ This is Grave and Solid, it has a Beauty not less than what is Bright, and Gay. So much of the Composition as is Good does also much Delight the Eye ; And tho’ the Lady is not Young, nor remarkably Handsome, the Grace, and Greatness that is here represented pleases exceedingly. In a Word, as throughout this whole Picture one sees Instances of an Accurate Hand, and Fine Thought, These must give proportionable Pleasure to so hearty a Lover as I am.
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ;
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Beauty, and Harmony of the Colouring gives Me a great Degree of Pleasure [ndr : dans le portrait de la comtesse Dowager d’Exeter par Van Dyck] ; for tho’ This is Grave and Solid, it has a Beauty not less than what is Bright, and Gay. So much of the Composition as is Good does also much Delight the Eye ; And tho’ the Lady is not Young, nor remarkably Handsome, the Grace, and Greatness that is here represented pleases exceedingly. In a Word, as throughout this whole Picture one sees Instances of an Accurate Hand, and Fine Thought, These must give proportionable Pleasure to so hearty a Lover as I am.
Quotation
I will give a Specimen of what I have been proposing [ndr : dans sa manière de juger une peinture], and the Subject shall be a Portrait of V. Dyck which I have, ‘tis a Half-length of a Countess Dowager of Exeter, as I learn from the Print made of it by Faithorn, and that is almost all one can learn from That concerning the Picture besides the General Attitude, and Disposition of it.
The Dress is Black Velvet, and That appearing almost one large Spot, the Lights not being so managed as to connect it, with the other parts of the Picture ; The Face, and Linnen at the Neck, and the two Hands, and broad Cuffs at the Wrists being by this means three several Spots of Light, and that near of an equal degree ; and forming almost an Equilateral Triangle, the Base of which is parallel to that of the Picture, the Composition is Defective ; and this occasion’d chiefly from the want of those Lights upon the Black. But so far as the Head, and almost to the Wast, with the Curtain behind, there is an Admirable Harmony, the Chair also makes a Medium between the Figure, and the Ground. The Eye is deliver’d down into that Dead Black Spot the Drapery with great Ease, the Neck is cover’d with Linnen, and at the Breast the top of the Stomacher makes a streight line. This would have been very harsh, and disagreeable but that ‘tis very Artfully broken by the Bowes of a Knot of narrow Ribbon which rise above that Line in fine, well-contrasted Shapes. This Knot fastens a Jewel on the Breast, which also helps to produce the Harmony of this part of the Picture, and the white Gloves which the Lady holds in her Left Hand, helps the Composition something as they vary That Light Spot from That which the Other Hand, and Linnen makes.
Quotation
The Beauty, and Harmony of the Colouring gives Me a great Degree of Pleasure [ndr : dans le portrait de la comtesse Dowager d’Exeter par Van Dyck] ; for tho’ This is Grave and Solid, it has a Beauty not less than what is Bright, and Gay. So much of the Composition as is Good does also much Delight the Eye ; And tho’ the Lady is not Young, nor remarkably Handsome, the Grace, and Greatness that is here represented pleases exceedingly. In a Word, as throughout this whole Picture one sees Instances of an Accurate Hand, and Fine Thought, These must give proportionable Pleasure to so hearty a Lover as I am.
Quotation
I will give a Specimen of what I have been proposing [ndr : dans sa manière de juger une peinture], and the Subject shall be a Portrait of V. Dyck which I have, ‘tis a Half-length of a Countess Dowager of Exeter, as I learn from the Print made of it by Faithorn, and that is almost all one can learn from That concerning the Picture besides the General Attitude, and Disposition of it.
The Dress is Black Velvet, and That appearing almost one large Spot, the Lights not being so managed as to connect it, with the other parts of the Picture ; The Face, and Linnen at the Neck, and the two Hands, and broad Cuffs at the Wrists being by this means three several Spots of Light, and that near of an equal degree ; and forming almost an Equilateral Triangle, the Base of which is parallel to that of the Picture, the Composition is Defective ; and this occasion’d chiefly from the want of those Lights upon the Black.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ; there appears nothing of the Antique, or Raffaelle-Tast of Designing, but Nature, well understood, well chosen, and well manag’d ; the Lights, and Shadows are justly plac’d, and shap’d, and both sides of the Face answer well to each other. The Jewel on the Breast is finely dispos’d, and directs the Eye to the line between the Breasts, and gives the Body there a great Relief, the Girdle also has a good effect, for by being mark’d pretty strongly the Eye is shown the Wast very readily. The Linnen, the Jewel, the Gold Curtain, the Gause Veil are all extreamly Natural, that is they are justly Drawn, and Colour’d.
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ;
Quotation
And notwithstanding the Defects I have taken the Liberty to remark with the same Indifferency as I have observed the Beauties, that is, without the least regard to the Great Name of the Master, There is a Grace throughout that Charms, and a Greatness that Commands Respect [ndr : dans le portrait de la comtesse Dowager d’Exeter, par Van Dyck]; She appears at first Sight to be a Well-bred Woman of Quality ; ‘tis in her Face, and in her Mien ; and as her Dress, Ornaments, and Furniture contribute something to the Greatness, the Gause Veil coming over her Forehead, and the Hem of it hiding a Defect (which was want of Eye-brows,) is a fine Artifice to give more Grace. This Grace, and Greatness is not that of Raffaelle, or the Antique but ‘tis what is suitable to a Portrait ; and one of Her Age, and Character, and consequently better than if she had appear’d with the Grace of a Venus, or Helena, or the Majesty of a Minerva, or Semiramis.
Quotation
And notwithstanding the Defects I have taken the Liberty to remark with the same Indifferency as I have observed the Beauties, that is, without the least regard to the Great Name of the Master, There is a Grace throughout that Charms, and a Greatness that Commands Respect [ndr : dans le portrait de la comtesse Dowager d’Exeter, par Van Dyck]; She appears at first Sight to be a Well-bred Woman of Quality ; ‘tis in her Face, and in her Mien ; and as her Dress, Ornaments, and Furniture contribute something to the Greatness, the Gause Veil coming over her Forehead, and the Hem of it hiding a Defect (which was want of Eye-brows,) is a fine Artifice to give more Grace. This Grace, and Greatness is not that of Raffaelle, or the Antique but ‘tis what is suitable to a Portrait ; and one of Her Age, and Character, and consequently better than if she had appear’d with the Grace of a Venus, or Helena, or the Majesty of a Minerva, or Semiramis.
Quotation
I will give a Specimen of what I have been proposing [ndr : dans sa manière de juger une peinture], and the Subject shall be a Portrait of V. Dyck which I have, ‘tis a Half-length of a Countess Dowager of Exeter, as I learn from the Print made of it by Faithorn, and that is almost all one can learn from That concerning the Picture besides the General Attitude, and Disposition of it. [...] But so far as the Head, and almost to the Wast, with the Curtain behind, there is an Admirable Harmony, the Chair also makes a Medium between the Figure, and the Ground. The Eye is deliver’d down into that Dead Black Spot the Drapery with great Ease, the Neck is cover’d with Linnen, and at the Breast the top of the Stomacher makes a streight line. This would have been very harsh, and disagreeable but that ‘tis very Artfully broken by the Bowes of a Knot of narrow Ribbon which rise above that Line in fine, well-contrasted Shapes. This Knot fastens a Jewel on the Breast, which also helps to produce the Harmony of this part of the Picture, and the white Gloves which the Lady holds in her Left Hand, helps the Composition something as they vary That Light Spot from That which the Other Hand, and Linnen makes.
Quotation
The Beauty, and Harmony of the Colouring gives Me a great Degree of Pleasure [ndr : dans le portrait de la comtesse Dowager d’Exeter par Van Dyck] ; for tho’ This is Grave and Solid, it has a Beauty not less than what is Bright, and Gay. So much of the Composition as is Good does also much Delight the Eye ; And tho’ the Lady is not Young, nor remarkably Handsome, the Grace, and Greatness that is here represented pleases exceedingly. In a Word, as throughout this whole Picture one sees Instances of an Accurate Hand, and Fine Thought, These must give proportionable Pleasure to so hearty a Lover as I am.
Quotation
I will give a Specimen of what I have been proposing [ndr : dans sa manière de juger une peinture], and the Subject shall be a Portrait of V. Dyck which I have, ‘tis a Half-length of a Countess Dowager of Exeter, as I learn from the Print made of it by Faithorn, and that is almost all one can learn from That concerning the Picture besides the General Attitude, and Disposition of it. [...] But so far as the Head, and almost to the Wast, with the Curtain behind, there is an Admirable Harmony, the Chair also makes a Medium between the Figure, and the Ground. The Eye is deliver’d down into that Dead Black Spot the Drapery with great Ease, the Neck is cover’d with Linnen, and at the Breast the top of the Stomacher makes a streight line. This would have been very harsh, and disagreeable but that ‘tis very Artfully broken by the Bowes of a Knot of narrow Ribbon which rise above that Line in fine, well-contrasted Shapes. This Knot fastens a Jewel on the Breast, which also helps to produce the Harmony of this part of the Picture, and the white Gloves which the Lady holds in her Left Hand, helps the Composition something as they vary That Light Spot from That which the Other Hand, and Linnen makes.
Quotation
These being thus dispatch’d we are at liberty to consider the Invention [ndr : il s’agit du portrait de la comtesse Dowager of Exeter, par Van Dyck]. V. Dyck’s Thought seems to have been that the Lady should be sitting in her Own Room receiving a Visit of Condolance from an Inferiour with great Benignity ; as shall be seen presently, I would here observe the Beauty, and Propriety of this Thought. For by This the Picture is not an Insipid Representation of a Face, and Dress, but here is also a Picture of the Mind, and what more proper to a Widow than Sorrow ? And more becoming a Person of Quality than Humility, and Benevolence ?
Quotation
I will give a Specimen of what I have been proposing [ndr : dans sa manière de juger une peinture], and the Subject shall be a Portrait of V. Dyck which I have, ‘tis a Half-length of a Countess Dowager of Exeter, as I learn from the Print made of it by Faithorn, and that is almost all one can learn from That concerning the Picture besides the General Attitude, and Disposition of it.
The Dress is Black Velvet, and That appearing almost one large Spot, the Lights not being so managed as to connect it, with the other parts of the Picture ; The Face, and Linnen at the Neck, and the two Hands, and broad Cuffs at the Wrists being by this means three several Spots of Light, and that near of an equal degree ; and forming almost an Equilateral Triangle, the Base of which is parallel to that of the Picture, the Composition is Defective ; and this occasion’d chiefly from the want of those Lights upon the Black. But so far as the Head, and almost to the Wast, with the Curtain behind, there is an Admirable Harmony, the Chair also makes a Medium between the Figure, and the Ground. The Eye is deliver’d down into that Dead Black Spot the Drapery with great Ease, the Neck is cover’d with Linnen, and at the Breast the top of the Stomacher makes a streight line. This would have been very harsh, and disagreeable but that ‘tis very Artfully broken by the Bowes of a Knot of narrow Ribbon which rise above that Line in fine, well-contrasted Shapes. This Knot fastens a Jewel on the Breast, which also helps to produce the Harmony of this part of the Picture, and the white Gloves which the Lady holds in her Left Hand, helps the Composition something as they vary That Light Spot from That which the Other Hand, and Linnen makes.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ; there appears nothing of the Antique, or Raffaelle-Tast of Designing, but Nature, well understood, well chosen, and well manag’d ;
Quotation
I will give a Specimen of what I have been proposing [ndr : dans sa manière de juger une peinture], and the Subject shall be a Portrait of V. Dyck which I have, ‘tis a Half-length of a Countess Dowager of Exeter, as I learn from the Print made of it by Faithorn, and that is almost all one can learn from That concerning the Picture besides the General Attitude, and Disposition of it.
The Dress is Black Velvet, and That appearing almost one large Spot, the Lights not being so managed as to connect it, with the other parts of the Picture ;
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ; there appears nothing of the Antique, or Raffaelle-Tast of Designing, but Nature, well understood, well chosen, and well manag’d ; the Lights, and Shadows are justly plac’d, and shap’d, and both sides of the Face answer well to each other. The Jewel on the Breast is finely dispos’d, and directs the Eye to the line between the Breasts, and gives the Body there a great Relief, the Girdle also has a good effect, for by being mark’d pretty strongly the Eye is shown the Wast very readily. The Linnen, the Jewel, the Gold Curtain, the Gause Veil are all extreamly Natural, that is they are justly Drawn, and Colour’d.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ; there appears nothing of the Antique, or Raffaelle-Tast of Designing, but Nature, well understood, well chosen, and well manag’d ; the Lights, and Shadows are justly plac’d, and shap’d, and both sides of the Face answer well to each other.
Quotation
Never was a Calm Becoming Sorrow better Express’d than in this Face [ndr : il s’agit du portrait de la Comtesse Dowager d’Exeter, par Van Dyck] chiefly there where ‘tis always most conspicuous that is in the Eyes : Not Guido Reni, no, nor Raffaelle himself could have Conceiv’d a Passion with more Delicacy, or more Strongly Express’d it ! To which also the Whole Attitude of the Figure contributes not a little, her Right Hand drops easily from the Elbow of the Chair which her Wrist lightly rests upon, the other lies in her Lap towards her Left Knees, all which together appears so Easy, and Careless, that what is Lost in the Composition by the Regularity I have taken notice of, is Gain’d in the Expression ; which being of greater Consequence justifies V. Dyck in the main, and shows his great Judgment, for tho’ as it Is, there is (as I said) something amiss, I cannot conceive any way of Avoiding That Inconvenience without a Greater.
Quotation
The Face, and Hands, are a Model for a Pencil in Portrait-Painting [ndr : il s’agit du portrait de la comtesse Dowager of Exeter, par Van Dyck] ; ‘tis not V. Dyck’s first Labour’d Flemish Manner, nor in the least Careless, or Slight ; the Colours are well wrought, and Touch’d in his best Style ; that is, the Best that ever Man had for Portraits ; nor is the Curtain in the least inferiour in this Particular, tho’ the Manner is vary’d as it ought to be, the Pencil is There more seen than in the Flesh ; the Hair, Veil, Chair, and indeed throughout except the Black Gown is finely Handled.
Quotation
The Beauty, and Harmony of the Colouring gives Me a great Degree of Pleasure [ndr : dans le portrait de la comtesse Dowager d’Exeter par Van Dyck] ; for tho’ This is Grave and Solid, it has a Beauty not less than what is Bright, and Gay. So much of the Composition as is Good does also much Delight the Eye ; And tho’ the Lady is not Young, nor remarkably Handsome, the Grace, and Greatness that is here represented pleases exceedingly. In a Word, as throughout this whole Picture one sees Instances of an Accurate Hand, and Fine Thought, These must give proportionable Pleasure to so hearty a Lover as I am.
Quotation
And notwithstanding the Defects I have taken the Liberty to remark with the same Indifferency as I have observed the Beauties, that is, without the least regard to the Great Name of the Master, There is a Grace throughout that Charms, and a Greatness that Commands Respect [ndr : dans le portrait de la comtesse Dowager d’Exeter, par Van Dyck]; She appears at first Sight to be a Well-bred Woman of Quality ; ‘tis in her Face, and in her Mien ; and as her Dress, Ornaments, and Furniture contribute something to the Greatness, the Gause Veil coming over her Forehead, and the Hem of it hiding a Defect (which was want of Eye-brows,) is a fine Artifice to give more Grace. This Grace, and Greatness is not that of Raffaelle, or the Antique but ‘tis what is suitable to a Portrait ; and one of Her Age, and Character, and consequently better than if she had appear’d with the Grace of a Venus, or Helena, or the Majesty of a Minerva, or Semiramis.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ; there appears nothing of the Antique, or Raffaelle-Tast of Designing, but Nature, well understood, well chosen, and well manag’d ; the Lights, and Shadows are justly plac’d, and shap’d, and both sides of the Face answer well to each other.
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ; there appears nothing of the Antique, or Raffaelle-Tast of Designing, but Nature, well understood, well chosen, and well manag’d ;
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
I will give a Specimen of what I have been proposing [ndr : dans sa manière de juger une peinture], and the Subject shall be a Portrait of V. Dyck which I have, ‘tis a Half-length of a Countess Dowager of Exeter, as I learn from the Print made of it by Faithorn, and that is almost all one can learn from That concerning the Picture besides the General Attitude, and Disposition of it.
The Dress is Black Velvet, and That appearing almost one large Spot, the Lights not being so managed as to connect it, with the other parts of the Picture ;
Quotation
I will give a Specimen of what I have been proposing [ndr : dans sa manière de juger une peinture], and the Subject shall be a Portrait of V. Dyck which I have, ‘tis a Half-length of a Countess Dowager of Exeter, as I learn from the Print made of it by Faithorn, and that is almost all one can learn from That concerning the Picture besides the General Attitude, and Disposition of it.
The Dress is Black Velvet, and That appearing almost one large Spot, the Lights not being so managed as to connect it, with the other parts of the Picture ; The Face, and Linnen at the Neck, and the two Hands, and broad Cuffs at the Wrists being by this means three several Spots of Light, and that near of an equal degree ; and forming almost an Equilateral Triangle, the Base of which is parallel to that of the Picture, the Composition is Defective ; and this occasion’d chiefly from the want of those Lights upon the Black. But so far as the Head, and almost to the Wast, with the Curtain behind, there is an Admirable Harmony, the Chair also makes a Medium between the Figure, and the Ground. The Eye is deliver’d down into that Dead Black Spot the Drapery with great Ease, the Neck is cover’d with Linnen, and at the Breast the top of the Stomacher makes a streight line. This would have been very harsh, and disagreeable but that ‘tis very Artfully broken by the Bowes of a Knot of narrow Ribbon which rise above that Line in fine, well-contrasted Shapes. This Knot fastens a Jewel on the Breast, which also helps to produce the Harmony of this part of the Picture, and the white Gloves which the Lady holds in her Left Hand, helps the Composition something as they vary That Light Spot from That which the Other Hand, and Linnen makes.
Quotation
The Tout-ensemble of the Colouring [ndr : dans le portrait de la comtesse Dowager of Exeter, par Van Dyck] is Extreamly Beautiful ; ‘tis Solemn, but Warm, Mellow, Clean, and Natural ; the Flesh, which is exquisitely good, especially the Face, the Black Habit, the Linnen and Cushion, the Chair of the Crimson Velvet, and the Gold Flower’d Curtain mixt with a little Crimson have an Admirable effect, and would be Perfect were there a Middle Tinct amongst the Black.
Quotation
The Face, and Hands, are a Model for a Pencil in Portrait-Painting [ndr : il s’agit du portrait de la comtesse Dowager of Exeter, par Van Dyck] ; ‘tis not V. Dyck’s first Labour’d Flemish Manner, nor in the least Careless, or Slight ; the Colours are well wrought, and Touch’d in his best Style ; that is, the Best that ever Man had for Portraits ; nor is the Curtain in the least inferiour in this Particular, tho’ the Manner is vary’d as it ought to be, the Pencil is There more seen than in the Flesh ; the Hair, Veil, Chair, and indeed throughout except the Black Gown is finely Handled.
Quotation
The Face is admirably well Drawn [ndr : du portrait de la comtesse Dowager of Exeter, par Van Dyck]; the Features are pronounc’d Clean, and Firmly, so as ‘tis evident he that did That conceiv’d strong, and Distinct Ideas, and saw wherein the Lines that form’d Those differ’d from all others ; there appears nothing of the Antique, or Raffaelle-Tast of Designing, but Nature, well understood, well chosen, and well manag’d ; the Lights, and Shadows are justly plac’d, and shap’d, and both sides of the Face answer well to each other. The Jewel on the Breast is finely dispos’d, and directs the Eye to the line between the Breasts, and gives the Body there a great Relief, the Girdle also has a good effect, for by being mark’d pretty strongly the Eye is shown the Wast very readily. The Linnen, the Jewel, the Gold Curtain, the Gause Veil are all extreamly Natural, that is they are justly Drawn, and Colour’d.
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These being thus dispatch’d we are at liberty to consider the Invention [ndr : il s’agit du portrait de la comtesse Dowager of Exeter, par Van Dyck]. V. Dyck’s Thought seems to have been that the Lady should be sitting in her Own Room receiving a Visit of Condolance from an Inferiour with great Benignity ; as shall be seen presently, I would here observe the Beauty, and Propriety of this Thought. For by This the Picture is not an Insipid Representation of a Face, and Dress, but here is also a Picture of the Mind, and what more proper to a Widow than Sorrow ? And more becoming a Person of Quality than Humility, and Benevolence ?
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Never was a Calm Becoming Sorrow better Express’d than in this Face [ndr : il s’agit du portrait de la Comtesse Dowager d’Exeter, par Van Dyck] chiefly there where ‘tis always most conspicuous that is in the Eyes : Not Guido Reni, no, nor Raffaelle himself could have Conceiv’d a Passion with more Delicacy, or more Strongly Express’d it ! To which also the Whole Attitude of the Figure contributes not a little, her Right Hand drops easily from the Elbow of the Chair which her Wrist lightly rests upon, the other lies in her Lap towards her Left Knees, all which together appears so Easy, and Careless, that what is Lost in the Composition by the Regularity I have taken notice of, is Gain’d in the Expression ; which being of greater Consequence justifies V. Dyck in the main, and shows his great Judgment, for tho’ as it Is, there is (as I said) something amiss, I cannot conceive any way of Avoiding That Inconvenience without a Greater.
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And notwithstanding the Defects I have taken the Liberty to remark with the same Indifferency as I have observed the Beauties, that is, without the least regard to the Great Name of the Master, There is a Grace throughout that Charms, and a Greatness that Commands Respect [ndr : dans le portrait de la comtesse Dowager d’Exeter, par Van Dyck]; She appears at first Sight to be a Well-bred Woman of Quality ; ‘tis in her Face, and in her Mien ; and as her Dress, Ornaments, and Furniture contribute something to the Greatness, the Gause Veil coming over her Forehead, and the Hem of it hiding a Defect (which was want of Eye-brows,) is a fine Artifice to give more Grace. This Grace, and Greatness is not that of Raffaelle, or the Antique but ‘tis what is suitable to a Portrait ; and one of Her Age, and Character, and consequently better than if she had appear’d with the Grace of a Venus, or Helena, or the Majesty of a Minerva, or Semiramis.
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The Beauty, and Harmony of the Colouring gives Me a great Degree of Pleasure [ndr : dans le portrait de la comtesse Dowager d’Exeter par Van Dyck] ; for tho’ This is Grave and Solid, it has a Beauty not less than what is Bright, and Gay. So much of the Composition as is Good does also much Delight the Eye ; And tho’ the Lady is not Young, nor remarkably Handsome, the Grace, and Greatness that is here represented pleases exceedingly. In a Word, as throughout this whole Picture one sees Instances of an Accurate Hand, and Fine Thought, These must give proportionable Pleasure to so hearty a Lover as I am.