love, joy, sorrow, &c. are only interesting to the imagination and worth the attention of the artist, as he can reduce them to an equivocal state which is neither pleasant nor painful, neither one thing nor the other? Or who would stop short of the utmost refinement, precision, and force in the delineation of each? Ideal expression is not neutral expression, but extreme expression. Again, character is a thing of peculiarity, of striking contrast, of distinction, and not of uniformity. It is necessarily opposed to Sir Joshua’s exclusive theory, and yet it is surely a curious and interesting field of speculation for the human mind. Lively, spirited discrimination of character is one source of gratification to the lover of nature and art, which it could not be if all truth and excellence consisted in rejecting individual traits. Ideal character is not common-place, but consistent character marked throughout, which may take place in history or portrait. Historical truth in a picture is the putting the different features of the face or muscles of the body into consistent action. The picturesque altogether depends on particular points or qualities of an object, projecting as it were beyond the middle line of beauty, and catching the eye of the spectator. It was less, however, my intention to
