TRANSLATOR'S PREFACE.

THE Translator of the work now presented in an English version, being himself convinced of its great and uncommon excellence, is naturally anxious to obtain for it that attention to which, in his opinion, it possesses so valid a claim.

A want, acknowledged by every one, is here supplied. An all-comprehensive and universal Theory, is now, for the first time, unfolded, as a sure guide and instructor where to find the secrets of, and how best to wield, the spells of Art in moulding its creations; and a standard of true taste and right criticism is set up, to try those creations, and to unlock whatever Art has, in its works, of most noble, pure, and elevating.

The original of this small volume, the result of years of thought, was published at Paris in the

The

year 1823, but appears to have hitherto remained almost unknown on this side the Channel. chief obstacle removed, it is to be hoped that such will be the case no longer. The author, M. Quatremère de Quincy, has long enjoyed on the Continent a well earned reputation; the consequence of the talents he has displayed as an Architect and Sculptor, and of the value of the numerous works he has from time to time laid before the public, which all bear ample testimony to his critical acumen, learning, and literary attainments. A Member of the Institute of Paris, he holds also the office of Perpetual Secretary to the Academy of the Fine Arts, which, while it •has conferred honour on himself, has been attended by reciprocal credit and advantage to that Society.

It was at one time in contemplation to have prefaced this translation, first, by an account of what had been already done towards the elucidation of the theory of the Fine Arts.* And small indeed,

When, throughout the following pages, the Fine Arts are spoken of, they must be understood, not with the limitation usually adopted in England, but as comprehending all the Arts of Imitation: viz., Poetry and the Drama, Music, Painting, Sculpture, Architecture, and Gesture, or the art of Dancing and Pantomime.

except as regards quantity, have been the additions to what Aristotle has bequeathed us in the three brief chapters at the commencement of his Poetic; of which, indeed, the present work is an extended and lucid exposition. For the rest, which concerns only Poetry, excepting a few generalities that M. de Quincy has not failed to notice, Aristotle commences where M. de Quincy leaves off. Secondly, to have applied the canons here laid down to the present state of the Arts in Britain. Thirdly, to have given instances in further illustration of some of the points discussed. And, finally, to have pointed out how, by the application of Means founded on the true principle of Imitation, Landscape Gardening, which, by forming as it would seem a wrong notion of that in which its true merit consists, M. de Quincy rejects from the circle of the Fine Arts, may be brought to take rank among them as an Art of Imitation; producing the the "resemblance of a thing in some other thing which becomes the image of it." Without, however, overlooking the circumstance that as the distance that separates the elements of the model from those of the image is small, so the degree of pleasure, (i. e. pleasure

of imitation,) and yet more, its kind, must still retain it on the outer confines of Art.*

This intention, however, from causes needless to state here, has been abandoned, and it may be as well that it is so, since this preamble must have run to a length that would perhaps have seemed to overload the original, which is certainly well able of itself to stand alone, without the necessity for adventitious aid to recommend it to. general attention.

The task of translation (always à thankless one)

* I do not impugn the force of the illustration which M. de Quincy has made choice of (see the close of Chapter xvi. Part I.) to show how necessary to the effect of every Art, is the recognition of that Art, and that "the pleasure is greater, the more widely the elements of the model are separated from those of its image;" seeing that he himself has defined the merit of the irregular style of Landscape Gardening to consist in its not raising a suspicion of Art. But I cannot admit that Landscape Gardening does, or ought to, aim at any such result. On the contrary, the elements of composition at its command, which are other than what nature has anywhere associated in one and the same scene, such as trees and shrubs from all and opposite climates, well kept walks, smooth turf, &c., setting aside the assistance of Architecture and Sculpture, must be so employed as to allow of the presence of Art being at once recognized.

But as I am precluded from entering further upon the topic in this place, I must content myself with referring those who feel an interest in it, to an article in vol. x. p. 558, of Loudon's Gardener's Magazine.—Translator.