Can paradise excel:

But when in trouble and despair,

A palace then is hell.

NEW-YORK: Printed by JOHN BULL, No. 115, Cherry-Street, where every Kind of Printing work is executed with the utmost Accuracy and Dispatch.—Subscriptions for this Magazine (at 2s. per month) are taken in at the Printing-Office, and by E. MITCHELL, Bookseller, No. 9, Maiden-Lane.

UTILE DULCI.

The New-York Weekly Magazine;

OR, MISCELLANEOUS REPOSITORY.

Vol. II.]WEDNESDAY, August 31, 1796.[No. 61.

Rules for judging the beauties of painting, music, and poetry; founded on a new examination of the word thought, as applied to the fine arts.

Thoughts are, generally speaking, all ideas sufficiently distinct to be conveyed by signs. When speaking with a particular reference to the belles lettres and polite arts, we mean, by thoughts, the ideas which the artist attempts to raise by his performance, in contradistinction to the manner in which they are raised or expressed.

In works of art, thoughts are what remain of a performance, when stripped of its embellishments. Thus, a poet’s thoughts are what remains of his poems, independently of the verification and of some ideas, merely serving for its decoration and improvement.

Thoughts, therefore, are the materials proposed and applied by art to its purposes. The dress in which they appear, or the form into which they are moulded by the artist, is merely accidental; consequently, they are the first object of attention in every work of art; the spirit, the soul of a performance, which, if its thoughts are indifferent, is but of little value, and may be compared to a palace of ice, raised in the most regular form of an habitable structure, but, from the nature of its materials, totally useless.

While, therefore, you are contemplating an historical picture, try to forget that it is a picture; forget the painter, whose magic art has, by lights and shades, created bodies where there are none. Fancy to yourself that you are looking at men, and then attend to their actions. Observe whether they are interesting; whether the persons express thoughts and sentiments in their faces, attitudes, and motions; whether you may understand the language of their airs and gestures; and whether they tell you something remarkable. If you find it not worth your while to attend to the persons thus realised by your fancy, the painter has thought to little purpose.