Its origin is to be traced up to that known source, from whence most of those arts, which humanise society and lend a polish to life, first had being. Diodorus Siculus speaks of bricks burnt in the fire with various colours, representing the natural appearance of men and animals; which is the first fact upon record. As this occurred during the building of Babylon, it is as remote an original as we are, perhaps, authorised to depend upon; although it is extremely probable it might be traced to an anterior date: which conclusion, though made from inference alone, we are allowed to suppose must have been the case; as a knowledge of the nature of pigments must first have been ascertained before the Chaldean artists could have been informed what colours would fade, or what would withstand the operation of the enamelling process in the intense heat necessary to produce the effect. They must at least have understood the difference between vegetable colours, which are the first presented to the senses, and most probably were the first which were used, and those afforded by the mineral kingdom, which alone were proper for the operation they performed. Therefore, the arts of painting and chemistry, we would presume must have made considerable progress prior to the erection of the tower of Babel.

The next people, who, in point of time as well as of importance, offer themselves to the notice of modern Europeans, are the Egyptians; and their perfection in the use of the various colours which constitute the compound idea we entertain when we think of painting, is well known and appreciated; when we may any day consult our judgment by inspecting those beautiful specimens of their eternal mode of colouring we have in the exhibition on mummy-cases in the British Museum, and other depositories of that species of antique preservation. The third people who excelled in giving a beautiful and tasteful variety to surfaces in colouring and effect, were the Etrurians, a people anciently inhabiting a district of Italy, now known as Tuscany. Of the perfection to which they brought the art we may form an adequate and proper judgment by inspecting those beautiful vases preserved in the Hamiltonian collection in the British Museum, and also in some very curious specimens of ancient painting, procured from the ruins of Herculaneum, collected likewise by Sir William Hamilton.

It cannot be doubted, that most distinct societies of men have, after the gratification of their first wants, and when leisure hours permitted the exercise of their ingenious and inventive faculties, invented a great variety of useful and ornamental arts; therefore, there cannot be a question, but various arts of utility as well as of ornament, have been invented by a great variety of people, who all, agreeably to our prior definitions, are well entitled to the distinct appellation of original inventors; consequently in such a case question must evidently submit to the determination of chronology.

Eudora, the daughter of a potter of Corinth, is presumed to have introduced the art into Greece. The art of painting in Greece is also claimed by Sicyon as the original. Mr. Fuseli has beautifully observed in his first lecture illustrative of the former of these two claimants, that “If ever legend deserved our belief, the amorous tale of the Corinthian maid, who traced the shadow of her departing lover by the secret lamp, appeals to our sympathy to grant it.” This invention is becoming doubly interesting in that country, first, because of its elegance and utility; and secondly, because it is ascribed to one of the noblest and most powerful passions, which distinguish the human species, the wonderful effects of which have given to humanity the most exalted and illustrious of actions, which ennoble the character of man—to delicate, refined, and almighty love. Numerous artists in the Grecian school brought the art of painting to great perfection.

The restorer of this delightful art in Europe was Cimabue, a native of Italy, who first studied under some Grecian artists, and furnished some admirable productions in fresco, in several Italian churches about the renovation of the arts in modern Italy; since which time, this purely intellectual art has been successfully cultivated in almost all the countries of Europe, certain masters in all schools of which have been eminent for some peculiar eminence.

An analogy has been drawn by comparison between the fascinating effect of music on the ear, and colour on the eye, wherein it is observed the comparison very nearly approximates; whence the term harmony, applied to the former, may correctly, and with singular propriety be used, when speaking of the latter. And also, it is said, for the same reason, and proceeding upon the like analogy, the term tone is applicable to both; they are accordingly used indiscriminately. Without questioning their propriety, we give in to our sensations, and as far as our judgment goes, believe they are not improperly introduced into the pictorial art.

It cannot be presumed that we should have the temerity to aspire to the task of giving a full and complete description of every variety which constitutes perfection in the art; for this would be to infer professional ability, equal, or perhaps, superior to what any one individual ever was, or, we may venture to say, ever will be, known to possess. Besides this inference, another must be presumed, because perfection in description must also anticipate the most delicate, refined, and, as termed, classically correct taste; neither to these do we assume the possession of such well-known essentials as are positively necessary to its formation. It is, besides, altogether difficult, as the world acknowledges, to fix a standard to the ideal faculty of taste, and which, we hereby take occasion to notice; therefore we hope to avoid the sin of presumption, and trust that our readers will observe that what we do state is upon good authority, if we have not full confidence in our own experience; but our sin, if sin there be, is rather that of omission than of commission—of saying too little, rather than too much.