Such is the great principle by which we must be directed in the nobler branches of our art. Upon this principle the Roman, the Florentine, the Bolognese schools, have formed their practice; and by this they have deservedly obtained the highest praise. These are the three great schools of the world in the epic style. The best of the French school, Poussin, Le Sueur, and Le Brun, have formed themselves upon these models, and consequently may be said, though Frenchmen, to be a colony from the Roman school. Next to these, but in a very different style of excellence, we may rank the Venetian, together with the Flemish and the Dutch schools, all professing to depart from the great purposes of painting, and catching at applause by inferior qualities.

I am not ignorant that some will censure me for placing the Venetians in this inferior class, and many of the warmest admirers of painting will think them unjustly degraded; but I wish not to be misunderstood. Though I can by no means allow them to hold any rank with the nobler schools of painting, they accomplished perfectly the thing they attempted. But as mere elegance is their principal object, as they seem more willing to dazzle than to affect, it can be no injury to them to suppose that their practice is useful only to its proper end. But what may heighten the elegant may degrade the sublime. There is a simplicity, and I may add, severity, in the great manner, which is, I am afraid, almost incompatible with this comparatively sensual style.

Tintoret, Paul Veronese, and others of the Venetian schools, seem to have painted with no other purpose than to be admired for their skill and expertness in the mechanism of painting, and to make a parade of that art which, as I before observed, the higher style requires its followers to conceal.

In a conference of the French Academy, at which were present Le Brun, Sebastian Bourdon, and all the eminent artists of that age, one of the academicians desired to have their opinion on the conduct of Paul Veronese, who, though a painter of great consideration, had, contrary to the strict rules of art, in his picture of Perseus and Andromeda, represented the principal figure in shade. To this question no satisfactory answer was then given. But I will venture to say, that if they had considered the class of the artist, and ranked him as an ornamental painter, there would have been no difficulty in answering: "It was unreasonable to expect what was never intended. His intention was solely to produce an effect of light and Shadow; everything was to be sacrificed to that intent, and the capricious composition of that picture suited very well with the style he professed."

Young minds are indeed too apt to be captivated by this splendour of style, and that of the Venetians will be particularly pleasing; for by them all those parts of the art that give pleasure to the eye or sense have been cultivated with care, and carried to the degree nearest to perfection. The powers exerted in the mechanical part of the art have been called the language of painters; but we must say, that it is but poor eloquence which only shows that the orator can talk. Words should be employed as the means, not as the end: language is the instrument, conviction is the work.

The language of painting must indeed be allowed these masters; but even in that they have shown more copiousness than choice, and more luxuriancy than judgment. If we consider the uninteresting subjects of their invention, or at least the uninteresting manner in which they are treated; if we attend to their capricious composition, their violent and affected contrasts, whether of figures, or of light and shadow, the richness of their drapery, and, at the same time, the mean effect which the discrimination of stuffs gives to their pictures; if to these we add their total inattention to expression, and then reflect on the conceptions and the learning of Michael Angelo, or the simplicity of Raffaelle, we can no longer dwell on the comparison. Even in colouring, if we compare the quietness and chastity of the Bolognese pencil to the bustle and tumult that fills every part of, a Venetian picture, without the least attempt to interest the passions, their boasted art will appear a mere struggle without effect; an empty tale told by an idiot, full of sound and fury, signifying nothing.

Such as suppose that the great style might happily be blended with the ornamental, that the simple, grave, and majestic dignity of Raffaelle could unite with the glow and bustle of a Paulo or Tintoret, are totally mistaken. The principles by which each are attained are so contrary to each other, that they seem, in my opinion, incompatible, and as impossible to exist together, as to unite in the mind at the same time the most sublime ideas and the lowest sensuality.

The subjects of the Venetian painters are mostly such as give them an opportunity of introducing a great number of figures, such as feasts, marriages, and processions, public martyrdoms, or miracles. I can easily conceive that Paul Veronese, if he were asked, would say that no subject was proper for an historical picture but such as admitted at least forty figures; for in a less number, he would assert, there could be no opportunity of the painter's showing his art in composition, his dexterity of managing and disposing the masses of light, and groups of figures, and of introducing a variety of Eastern dresses and characters in their rich stuffs.

But the thing is very different with a pupil of the greater schools. Annibale Caracci thought twelve figures sufficient for any story: he conceived that more would contribute to no end but to fill space; that they would, be but cold spectators of the general action, or, to use his own expression, that they would be figures to be let. Besides, it is impossible for a picture composed of so many parts to have that effect, so indispensably necessary to grandeur, of one complete whole. However contradictory it may be in geometry, it is true in taste, that many little things will not make a great one. The sublime impresses the mind at once with one great idea; it is a single blow: the elegant indeed may be produced by a repetition, by an accumulation of many minute circumstances.

However great the difference is between the composition of the Venetian and the rest of the Italian schools, there is full as great a disparity in the effect of their pictures as produced by colours. And though in this respect the Venetians must be allowed extraordinary skill, yet even that skill, as they have employed it, will but ill correspond with the great style. Their colouring is not only too brilliant, but, I will venture to say, too harmonious to produce that solidity, steadiness, and simplicity of effect which heroic subjects require, and which simple or grave colours only can give to a work. That they are to be cautiously studied by those who are ambitious of treading the great walk of history is confirmed, if it wants confirmation, by the greatest of all authorities, Michael Angelo. This wonderful man, after having seen a picture by Titian, told Vasari, who accompanied him, "that he liked much his colouring and manner; but then he added, that it was a pity the Venetian painters did not learn to draw correctly in their early youth, and adopt a better manner of study."

By this it appears that the principal attention of the Venetian painters, in the opinion of Michael Angelo, seemed to be engrossed by the study of colours, to the neglect of the ideal beauty of form, or propriety of expression. But if general censure was given to that school from the sight of a picture of Titian, how much more heavily, and more justly, would the censure fall on Paulo Veronese, or more especially on Tintoret? And here I cannot avoid citing Vasari's opinion of the style and manner of Tintoret. "Of all the extraordinary geniuses," says he, "that have ever practised the art of painting, for wild, capricious, extravagant, and fantastical inventions, for furious impetuosity and boldness in the execution of his work, there is none like Tintoret; his strange whims are even beyond extravagance; and his works seem to be produced rather by chance than in consequence of any previous design, as if he wanted to convince the world that, the art was a trifle, and of the most easy attainment."

For my own part, when I speak of the Venetian painters, I wish to be understood to mean Paulo Veronese and Tintoret, to the exclusion of Titian; for though his style is not so pure as that of many other of the Italian schools, yet there is a sort of senatorial dignity about him, which, however awkward in his imitators, seems to become him exceedingly. His portraits alone, from the nobleness and simplicity of character which he always gave them, will entitle him to the greatest respect, as he undoubtedly stands in the first rank in this branch of the art.

It is not with Titian, but with the seducing qualities of the two former, that I could wish to caution you, against being too much captivated. These are the persons who may be said to have exhausted all the powers of florid eloquence, to debauch the young and unexperienced, and have, without doubt, been the cause of turning off the attention of the connoisseur and of the patron of art, as well as that of the painter, from those higher excellences of which the art is capable, and which ought to be required in every considerable production. By them, and their imitators, a style merely ornamental has been disseminated throughout all Europe. Rubens carried it to Flanders, Voet to France, and Luca Giordano to Spain and Naples.

The Venetian is indeed the most splendid of the schools of elegance; and it is not without reason that the best performances in this lower school are valued higher than the second-rate performances of those above them; for every picture has value when it has a decided character, and is excellent in its kind. But the student must take care not to be so much dazzled with this splendour as to be tempted to imitate what must ultimately lead from perfection. Poussin, whose eye was always steadily fixed on the sublime, has been often heard to say, "That a particular attention to colouring was an obstacle to the student in his progress to the great end and design of the art; and that he who attaches himself to this principal end will acquire by practice a reasonably good method of colouring."

Though it be allowed that elaborate harmony of colouring, a brilliancy of tints, a soft and gradual transition from one to another, present to the eye what an harmonious concert of music does to the ear, it must be remembered that painting is not merely a gratification of the sight. Such excellence, though properly cultivated where nothing higher than elegance is intended, is weak and unworthy of regard, when the work aspires to grandeur and sublimity.

The same reasons that have been urged why a mixture of the Venetian style cannot improve the great style will hold good in regard to the Flemish and Dutch schools. Indeed, the Flemish school, of which Rubens is the head, was formed upon that of the Venetian; like them, he took his figures too much from the people before him. But it must be allowed in favour of the Venetians that he was more gross than they, and carried all their mistaken methods to a far greater excess. In the Venetian school itself, where they all err from the same cause, there is a difference in the effect. The difference between Paulo and Bassano seems to be only that one introduced Venetian gentlemen into his pictures, and the other the boors of the district of Bassano, and called them patriarchs and prophets.

The painters of the Dutch school have still more locality. With them, a history piece is properly a portrait of themselves; whether they describe the inside or outside of their houses, we have their own people engaged in their own peculiar occupations, working or drinking, playing or fighting. The circumstances that enter into a picture of this kind are so far from giving a general view of human life that they exhibit all the minute particularities of a nation differing in several respects from the rest of mankind. Yet, let them have their share of more humble praise. The painters of this school are excellent in their own way; they are only ridiculous when they attempt general history on their own narrow principles, and debase great events by the meanness of their characters.

Some inferior dexterity, some extraordinary mechanical power, is apparently that from which they seek distinction. Thus, we see, that school alone has the custom of representing candle-light, not as it really appears to us by night, but red, as it would illuminate objects to a spectator by day. Such tricks, however pardonable in the little style, where petty effects are the sole end, are inexcusable in the greater, where the attention should never be drawn aside by trifles, but should be entirely occupied by the subject itself.

The same local principles which characterise the Dutch school extend even to their landscape painters; and Rubens himself, who has painted many landscapes, has sometimes transgressed in this particular. Their pieces in this way are, I think, always a representation of an individual spot, and each in its kind a very faithful but very confined portrait.

Claude Lorraine, on the contrary, was convinced that taking nature as he found it seldom produced beauty. His pictures are a composition of the various draughts which he has previously made from various beautiful scenes and prospects. However, Rubens in some measure has made amends for the deficiency with which he is charged; he has contrived to raise and animate his otherwise uninteresting views, by introducing a rainbow, storm, or some particular accidental effect of light. That the practice of Claude Lorraine, in respect to his choice, is to be adopted by landscape painters, in opposition to that of the Flemish and Dutch schools, there can be no doubt, as its truth is founded upon the same principle as that by which the historical painter acquires perfect form. But whether landscape painting has a right to aspire so far as to reject what the painters call accidents of nature is not easy to determine. It is certain Claude Lorraine seldom, if ever, availed himself of those accidents; either he thought that such peculiarities were contrary to that style of general nature which he professed, or that it would catch the attention too strongly, and destroy that quietness and repose which he thought necessary to that kind of painting.

A portrait painter likewise, when he attempts history, unless he is upon his guard, is likely to enter too much into the detail. He too frequently makes his historical heads look like portraits; and this was once the custom amongst those old painters who revived the art before general ideas were practised or understood. A history painter paints man in general; a portrait painter, a particular man, and consequently a defective model.

Thus an habitual practice in the lower exercises of the art will prevent many from attaining the greater. But such of us who move in these humbler walks of the profession are not ignorant that, as the natural dignity of the subject is less, the more all the little ornamental helps are necessary to its embellishment. It would be ridiculous for a painter of domestic scenes, of portraits, landscapes, animals, or of still life, to say that he despised those qualities which have made the subordinate schools so famous. The art of colouring, and the skilful management of light and shadow, are essential requisites in his confined labours. If we descend still lower, what is the painter of fruit and flowers without the utmost art in colouring, and what the painters call handling; that is, a lightness of pencil that implies great practice, and gives the appearance of being done with ease? Some here, I believe, must remember a flower-painter whose boast it was that he scorned to paint for the million; no, he professed to paint in the true Italian taste; and despising the crowd, called strenuously upon the few to admire him. His idea of the Italian taste was to paint as black and dirty as he could, and to leave all clearness and brilliancy of colouring to those who were fonder of money than of immortality. The consequence was such as might be expected. For these pretty excellences are here essential beauties; and without this merit the artist's work will be more short-lived than the objects of his imitation.

From what has been advanced, we must now be convinced that there are two distinct styles in history painting: the grand, and the splendid or ornamental.

The great style stands alone, and does not require, perhaps does not so well admit, any addition from inferior beauties. The ornamental style also possesses its own peculiar merit. However, though the union of the two may make a sort of composite style, yet that style is likely to be more imperfect than either of those which go to its composition. Both kinds have merit, and may be excellent though in different ranks, if uniformity be preserved, and the general and particular ideas of nature be not mixed. Even the meanest of them is difficult enough to attain; and the first place being already occupied by the great artists in either department, some of those who followed thought there was less room for them, and feeling the impulse of ambition and the desire of novelty, and being at the same time perhaps willing to take the shortest way, they endeavoured to make for themselves a place between both. This they have effected by forming a union of the different orders. But as the grave and majestic style would suffer by a union with the florid and gay, so also has the Venetian ornament in some respect been injured by attempting an alliance with simplicity.

It may be asserted that the great style is always more or less contaminated by any meaner mixture. But it happens in a few instances that the lower may be improved by borrowing from the grand. Thus, if a portrait painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He leaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent, which has annexed to it no ideas of meanness from its being familiar to us. But if an exact resemblance of an individual be considered as the sole object to be aimed at, the portrait painter will be apt to lose more than he gains by the acquired dignity taken from general nature. It is very difficult to ennoble the character of a countenance but at the expense of the likeness, which is what is most generally required by such as sit to the painter.

Of those who have practised the composite style, and have succeeded in this perilous attempt, perhaps the foremost is Correggio. His style is founded upon modern grace and elegance, to which is super, added something of the simplicity of the grand style. A breadth of light and colour, the general ideas of the drapery, an uninterrupted flow of outline, all conspire to this effect. Next him (perhaps equal to him) Parmegiano has dignified the genteelness of modern effeminacy by uniting it with the simplicity of the ancients and the grandeur and severity of Michael Angelo. It must be confessed, however, that these two extraordinary men, by endeavouring to give the utmost degree of grace, have sometimes, perhaps, exceeded its boundaries, and have fallen into the most hateful of all hateful qualities, affectation. Indeed, it is the peculiar characteristic of men of genius to be afraid of coldness and insipidity, from which they think they never can be too far removed. It particularly happens to these great masters of grace and elegance. They often boldly drive on to the very verge of ridicule; the spectator is alarmed, but at the same time admires their vigour and intrepidity.

Strange graces still, and stranger flights they had, . . . Yet ne'er so sure our passion to create Ae when they touch'd the brink of all we hate.

The errors of genius, however, are pardonable, and none even of the more exalted painters are wholly free from them; but they have taught us, by the rectitude of their general practice, to correct their own affected or accidental deviation. The very first have not been always upon their guard, and perhaps there is not a fault but what may take shelter under the most venerable authorities; yet that style only is perfect in which the noblest principles are uniformly pursued; and those masters only are entitled to the first rank in, our estimation who have enlarged the boundaries of their art, and have raised it to its highest dignity, by exhibiting the general ideas of nature.

On the whole, it seems to me that there is but one presiding principle which regulates and gives stability to every art. The works, whether of poets, painters, moralists, or historians, which are built upon general nature, live for ever; while those which depend for their existence on particular customs and habits, a partial view of nature, or the fluctuation of fashion, can only be coeval with that which first raised them from obscurity. Present time and future maybe considered as rivals, and he who solicits the one must expect to be discountenanced by the other.



A DISCOURSE Delivered to the Students of the Royal Academy on the Distribution of the Prizes, December 10, 1772, by the President.

Gentlemen,—I purpose to carry on in this discourse the subject which I began in my last. It was my wish upon that occasion to incite you to pursue the higher excellences of the art. But I fear that in this particular I have been misunderstood. Some are ready to imagine, when any of their favourite acquirements in the art are properly classed, that they are utterly disgraced. This is a very great mistake: nothing has its proper lustre but in its proper place. That which is most worthy of esteem in its allotted sphere becomes an object, not of respect, but of derision, when it is forced into a higher, to which it is not suited; and there it becomes doubly a source of disorder, by occupying a situation which is not natural to it, and by putting down from the first place what is in reality of too much magnitude to become with grace and proportion that subordinate station, to which something of less value would be much better suited.

My advice in a word is this: keep your principal attention fixed upon the higher excellences. If you compass them and compass nothing more, you are still in the first class. We may regret the innumerable beauties which you may want: you may be very imperfect: but still, you are an imperfect person of the highest order.

If, when you have got thus far, you can add any, or all, of the subordinate qualifications, it is my wish and advice that you should not neglect them.

But this is as much a matter of circumspection and caution at least as of eagerness and pursuit.

The mind is apt to be distracted by a multiplicity of pursuits; and that scale of perfection, which I wish always to be preserved, is in the greatest danger of being totally disordered, and even inverted.

Some excellences bear to be united, and are improved by union, others are of a discordant nature; and the attempt to join them only produces a harsher jarring of incongruent principles.

The attempt to unite contrary excellences (of form, for instance) in a single figure, can never escape degenerating into the monstrous, but by sinking into the insipid, taking away its marked character, and weakening its expression.

This remark is true to a certain degree with regard to the passions. If you mean to preserve the most perfect beauty in its most perfect state, you cannot express the passions, which produce (all of them) distortion and deformity, more or less, in the most beautiful faces.

Guido, from want of choice in adapting his subject to his ideas and his powers, or in attempting to preserve beauty where it could not be preserved has in this respect succeeded very ill. His figures are often engaged in subjects that required great expression: yet his "Judith and Holofernes," the "Daughter of Herodias with the Baptist's Head," the "Andromeda," and even the "Mothers of the Innocents," have little more expression than his "Venus attired by the Graces."

Obvious as these remarks appear, there are many writers on our art, who, not being of the profession, and consequently not knowing what can or what cannot be done, have been very liberal of absurd praises in their descriptions of favourite works. They always find in them what they are resolved to find. They praise excellences that can hardly exist together, and above all things are fond of describing with great exactness the expression of a mixed passion, which more particularly appears to me out of the reach of our art.

Such are many disquisitions which I have read on some of the cartoons and other pictures of Raffaelle, where the critics have described their own imagination; or indeed where the excellent master himself may have attempted this expression of passions above the powers of the art; and has, therefore, by an indistinct and imperfect marking, left room for every imagination, with equal probability to find a passion of his own. What has been, and what can be done in the art, is sufficiently difficult; we need not be mortified or discouraged for not being able to execute the conceptions of a romantic imagination. Art has its boundaries, though imagination has none. We can easily, like the ancients, suppose a Jupiter to be possessed of all those powers and perfections which the subordinate Deities were endowed with separately. Yet, when they employed their art to represent him, they confined his character to majesty alone. Pliny, therefore, though we are under great obligations to him for the information he has given us in relation to the works of the ancient artists, is very frequently wrong when he speaks of them, which he does very often in the style of many of our modern connoisseurs. He observes that in a statue of Paris, by Fuphranor, you might discover at the same time three different characters; the dignity of a judge of the goddesses, the lover of Helen, and the conqueror of Achilles. A statue in which you endeavour to unite stately dignity, youthful elegance, and stern valour, must surely possess none of these to any eminent degree.

From hence it appears that there is much difficulty as well as danger in an endeavour to concentrate upon a single subject those various powers which, rising from different points, naturally move in different directions.

The summit of excellence seems to be an assemblage of contrary qualities, but mixed, in such proportions, that no one part is found to counteract the other. How hard this is to be attained in every art, those only know who have made the greatest progress in their respective professions.

To conclude what I have to say on this part of the subject, which I think of great importance, I wish you to understand that I do not discourage the younger students from the noble attempt of uniting all the excellences of art, but to make them aware that, besides the difficulties which attend every arduous attempt, there is a peculiar difficulty in the choice of the excellences which ought to be united; I wish you to attend to this, that you may try yourselves, whenever you are capable of that trial, what you can, and what you cannot do: and that, instead of dissipating your natural faculties over the immense field of possible excellence, you may choose some particular walk in which you may exercise all your powers, in order each of you to be the first in his way. If any man shall be master of such a transcendant, commanding, and ductile genius, as to enable him to rise to the highest, and to stoop to the lowest flights of art, and to sweep over all of them unobstructed and secure, he is fitter to give example than to receive instruction.

Having said thus much on the union of excellences, I will next say something of the subordination in which various excellences ought to be kept.

I am of opinion that the ornamental style, which in my discourse of last year I cautioned you against considering as principal, may not be wholly unworthy the attention of those who aim even at the grand style; when it is properly placed and properly reduced.

But this study will be used with far better effect, if its principles are employed in softening the harshness and mitigating the rigour of the great style, than if in attempt to stand forward with any pretensions of its own to positive and original excellence.

It was thus Lodovico Caracci, whose example I formerly recommended to you, employed it. He was acquainted with the works both of Correggio and the Venetian painters, and knew the principles by which they produced those pleasing effects which at the first glance prepossess us so much in their favour; but he took only as much from each as would embellish, but not overpower, that manly strength and energy of style, which is his peculiar character.

Since I have already expatiated so largely in my former discourse, and in my present, upon the styles and characters of painting, it will not be at all unsuitable to my subject if I mention to you some particulars relative to the leading principles, and capital works of those who excelled in the great style, that I may bring you from abstraction nearer to practice, and by exemplifying the propositions which I have laid down, enable you to understand more clearly what I would enforce.

The principal works of modern art are in fresco, a mode of painting which excludes attention to minute elegancies: yet these works in fresco are the productions on which the fame of the greatest masters depend: such are the pictures of Michael Angelo and Raffaelle in the Vatican, to which we may add the cartoons, which, though not strictly to be called fresco, yet may be put under that denomination; and such are the works of Giulio Romano at Mantua. If these performances were destroyed, with them would be lost the best part of the reputation of those illustrious painters, for these are justly considered as the greatest efforts of our art which the world can boast. To these, therefore, we should principally direct our attention for higher excellences. As for the lower arts, as they have been once discovered, they may be easily attained by those possessed of the former.

Raffaelle, who stands in general foremost of the first painters, owes his reputation, as I have observed, to his excellence in the higher parts of the art. Therefore, his works in fresco ought to be the first object of our study and attention. His easel-works stand in a lower degree of estimation; for though he continually, to the day of his death, embellished his works more and more with the addition of these lower ornaments, which entirely make the merit of some, yet he never arrived at such perfection as to make him an object of imitation. He never was able to conquer perfectly that dryness, or even littleness of manner, which he inherited from his master. He never acquired that nicety of taste in colours, that breadth of light and shadow, that art and management of uniting light, to light, and shadow to shadow, so as to make the object rise out of the ground with that plenitude of effect so much admired in the works of Correggio. When he painted in oil, his hand seemed to be so cramped and confined that he not only lost that facility and spirit, but I think even that correctness of form, which is so perfect and admirable in his fresco works. I do not recollect any pictures of his of this kind, except perhaps the "Transfiguration," in which there are not some parts that appear to be even feebly drawn. That this is not a necessary attendant on oil-painting, we have abundant instances in more modern painters. Lodovico Caracci, for instance, preserved in his works in oil the same spirit, vigour, and correctness, which he had in fresco. I have no desire to degrade Raffaelle from the high rank which he deservedly holds: but by comparing him with himself, he does not appear to me to be the same man in oil as in fresco.

From those who have ambition to tread in this great walk of the art, Michael Angelo claims the next attention. He did not possess so many excellences as Raffaelle, but those he had were of the highest kind. He considered the art as consisting of little more than what may be attained by sculpture, correctness of form, and energy of character. We ought not to expect more than an artist intends in his work. He never attempted those lesser elegancies and graces in the art. Vasari says, he never painted but one picture in oil, and resolved never to paint another, saying it was an employment only fit for women and children.

If any man had a right to look down upon the lower accomplishments as beneath his attention, it was certainly Michael Angelo: nor can it be thought strange that such a mind should have slighted or have been withheld from paying due attention to all those graces and embellishments of art which have diffused such lustre over the works of other painters.

It must be acknowledged likewise, that together with these, which we wish he had more attended to, he has rejected all the false though specious ornaments which disgrace the works even of the most esteemed artists; and I will venture to say, that when those higher excellences are more known and cultivated by the artists and the patrons of arts, his fame and credit will increase with our increasing knowledge. His name will then be held in the same veneration as it was in the enlightened age of Leo the Tenth: and it is remarkable that the reputation of this truly great man has been continually declining as the art itself has declined. For I must remark to you, that it has long been much on the decline, and that our only hope of its revival will consist in your being thoroughly sensible of its depravation and decay. It is to Michael Angelo that we owe even the existence of Raffaelle; it is to him Raffaelle owes the grandeur of his style. He was taught by him to elevate his thoughts, and to conceive his subjects with dignity. His genius, however, formed to blaze and to shine, might, like fire in combustible matter, for ever have lain dormant if it had not caught a spark by its contact with Michael Angelo: and though it never burst out with that extraordinary heat and vehemence, yet it must be acknowledged to be a more pure, regular, and chaste flame. Though our judgment will upon the whole decide in favour of Raffaelle: yet he never takes that firm hold and entire possession of the mind in such a manner as to desire nothing else, and feel nothing wanting. The effect of the capital works of Michael Angelo perfectly correspond to what Bourchardon said he felt from reading Homer. His whole frame appeared to himself to be enlarged, and all nature which surrounded him diminished to atoms.

If we put those great artists in a light of comparison with each other, Raffaelle had more taste and fancy, Michael Angelo more genius and imagination. The one excelled in beauty, the other in energy. Michael Angelo has more of the poetical inspiration; his ideas are vast and sublime; his people are a superior order of beings; there is nothing about them, nothing in the air of their actions or their attitudes, or the style and cast of their very limbs or features, that puts one in mind of their belonging, to our own species. Raffaelle's imagination is not so elevated; his figures are not so much disjoined from our own diminutive race of beings, though his ideas are chaste, noble, and of great conformity to their subjects. Michael Angelo's works have a strong, peculiar, and marked character; they seem to proceed from his own mind entirely, and that mind so rich and abundant, that he never needed, or seemed to disdain, to look abroad for foreign help. Raffaelle's materials are generally borrowed, though the noble structure is his own. The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of taste, and the skilful accommodation of other men's conceptions to his own purpose. Nobody excelled him in that judgment, with which he united to his own observations on nature the energy of Michael Angelo, and the beauty and simplicity of the antique. To the question, therefore, which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered, that if it is to be given to him who possessed a greater combination of the higher qualities of the art than any other man, there is no doubt but Raffaelle is the first. But if, according to Longinus, the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference.

These two extraordinary men carried some of the higher excellences of the art to a greater degree of perfection than probably they ever arrived at before. They certainly have not been excelled, nor equalled since. Many of their successors were induced to leave this great road as a beaten path, endeavouring to surprise and please by something uncommon or new. When this desire after novelty has proceeded from mere idleness or caprice, it is not worth the trouble of criticism; but when it has been in consequence of a busy mind of a peculiar complexion, it is always striking and interesting, never insipid.

Such is the great style as it appears in those who possessed it at its height; in this, search after novelty in conception or in treating the subject has no place.

But there is another style, which, though inferior to the former, has still great merit, because it shows that those who cultivated it were men of lively and vigorous imagination. This I call the original or characteristical style; this, being less referred to any true architype existing either in general or particular nature, must be supported by the painter's consistency in the principles he has assumed, and in the union and harmony of his whole design. The excellency of every style, but I think of the subordinate ones more especially, will very much depend on preserving that union and harmony between all the component parts, that they appear to hang well together, as if the whole proceeded from one mind. It is in the works of art, as in the characters of men. The faults or defects of some men seem to become them when they appear to be the natural growth, and of a piece with the rest of their character. A faithful picture of a mind, though it be not of the most elevated kind, though it be irregular, wild, and incorrect, yet if it be marked with that spirit and firmness which characterises works of genius, will claim attention, and be more striking than a combination of excellences that do not seem to hang well together, or we may say than a work that possesses even all excellences, but those in a moderate degree.

One of the strongest marked characters of this kind, which must be allowed to be subordinate to the great style, is that of Salvator Rosa. He gives us a peculiar cast of nature, which, though void of all grace, elegance, and simplicity; though it has nothing of that elevation and dignity which belongs to the grand style, yet has that sort of dignity which belongs to savage and uncultivated nature. But what is most to be admired in him is the perfect correspondence which he observed between the subjects which he chose, and his manner of treating them. Everything is of a piece: his rocks, trees, sky, even to his handling have the same rude and wild character which animates his figures.

To him we may contrast the character of Carlo Maratti, who, in my own opinion, had no great vigour of mind or strength of original genius. He rarely seizes the imagination by exhibiting the higher excellences, nor does he captivate us by that originality which attends the painter who thinks for himself. He knew and practised all the rules of art, and from a composition of Raffaelle, Caracci, and Guido, made up a style, of which its only fault was, that it had no manifest defects and no striking beauties, and that the principles of his composition are never blended together, so as to form one uniform body, original in its kind, or excellent in any view.

I will mention two other painters who, though entirely dissimilar, yet by being each consistent with himself, and possessing a manner entirely his own, have both gained reputation, though for very opposite accomplishments.

The painters I mean are Rubens and Poussin. Rubens I mention in this place, as I think him a remarkable instance of the same mind being seen in all the various parts of the art. The whole is so much of a piece that one can scarce be brought to believe but that if any one of them had been more correct and perfect, his works would not be so complete as they now appear. If we should allow a greater purity and correctness of drawing, his want of simplicity in composition, colouring, and drapery would appear more gross.

In his composition his art is too apparent. His figures have expression, and act with energy, but without simplicity or dignity. His colouring, in which he is eminently skilled, is, notwithstanding, too much of what we call tinted. Throughout the whole of his works there is a proportionable want of that nicety of distinction and elegance of mind which is required in the higher walks of painting; and to this want it may be in some degree ascribed that those qualities which make the excellency of this subordinate style appear in him with their greatest lustre. Indeed, the facility with which he invented, the richness of his composition, the luxuriant harmony and brilliancy of his colouring, so dazzle the eye, that whilst his works continue before us we cannot help thinking that all his deficiencies are fully supplied.

Opposed to this florid, careless, loose, and inaccurate style, that of the simple, careful, pure, and correct style of Poussin seems to be a complete contrast.

Yet however opposite their characters, in one thing they agreed, both of them having a perfect correspondence between all the parts of their respective manners.

One is not sure but every alteration of what is considered as defective in either, would destroy the effect of the whole.

Poussin lived and conversed with the ancient statues so long, that he may be said to be better acquainted with then than with the people who were about him. I have often thought that he carried his veneration for them so far as to wish to give his works the air of ancient paintings. It is certain he copied some of the antique paintings, particularly the "Marriage in the Albrobrandini Palace at Rome," which I believe to be the best relique of those remote ages that has yet been found.

No works of any modern has so much of the air of antique painting as those of Poussin. His best performances have a remarkable dryness of manner, which, though by no means to be recommended for imitation, yet seems perfectly correspondent to that ancient simplicity which distinguishes his style. Like Polidoro he studied them so much, that he acquired a habit of thinking in their way, and seemed to know perfectly the actions and gestures they would use on every occasion.

Poussin in the latter part of his life changed from his dry manner to one much softer and richer, where there is a greater union between the figures and the ground, such as the "Seven Sacraments" in the Duke of Orleans' collection; but neither these, nor any in this manner, are at all comparable to many in his dry manner which we have in England.

The favourite subjects of Poussin were ancient fables; and no painter was ever better qualified to paint such subjects, not only from his being eminently skilled in the knowledge of ceremonies, customs, and habits of the ancients, but from his being so well acquainted with the different characters which those who invented them gave their allegorical figures. Though Rubens has shown great fancy in his Satyrs, Silenuses, and Fauns, yet they are not that distinct separate class of beings which is carefully exhibited by the ancients and by Poussin. Certainly when such subjects of antiquity are represented, nothing in the picture ought to remind us of modern times. The mind is thrown back into antiquity, and nothing ought to be introduced that may tend to awaken it from the illusion.

Poussin seemed to think that the style and the language in which such stories are told is not the worse for preserving some relish of the old way of painting which seemed to give a general uniformity to the whole, so that the mind was thrown back into antiquity not only by the subject, but the execution.

If Poussin, in imitation of the ancients, represents Apollo driving his chariot out of the sea by way of representing the sun rising, if he personifies lakes and rivers, it is no ways offensive in him; but seems perfectly of a piece with the general air of the picture. On the contrary, if the figures which people his pictures had a modern air or countenance, if they appeared like our countrymen, if the draperies were like cloth or silk of our manufacture, if the landscape had the appearance of a modern view, how ridiculous would Apollo appear instead of the sun, an old man or a nymph with an urn instead of a river or lake.

I cannot avoid mentioning here a circumstance in portrait painting which may help to confirm what has been said.

When a portrait is painted in the historical style, as it is neither an exact minute representation of an individual nor completely ideal, every circumstance ought to correspond to this mixture. The simplicity of the antique air and attitude, however much to be admired, is ridiculous when joined to a figure in a modern dress. It is not to my purpose to enter into the question at present, whether this mixed style ought to be adopted or not; yet if it is chosen it is necessary it should be complete and all of a piece: the difference of stuffs, for instance, which make the clothing, should be distinguished in the same degree as the head deviates from a general idea.

Without this union, which I have so often recommended, a work can have no marked and determined character, which is the peculiar and constant evidence of genius. But when this is accomplished to a high degree, it becomes in some sort a rival to that style which we have fixed as the highest.

Thus I have given a sketch of the characters of Rubens and Salvator Rosa, as they appear to me to have the greatest uniformity of mind throughout their whole work. But we may add to these, all these artists who are at the head of the class, and have had a school of imitators from Michael Angelo down to Watteau. Upon the whole it appears that setting aside the ornamental style, there are two different paths, either of which a student may take without degrading the dignity of his art. The first is to combine the higher excellences and embellish them to the greatest advantage. The other is to carry one of these excellences to the highest degree. But those who possess neither must be classed with them, who, as Shakespeare says, are men of no mark or likelihood.

I inculcate as frequently as I can your forming yourselves upon great principles and great models. Your time will be much misspent in every other pursuit. Small excellences should be viewed, not studied; they ought to be viewed, because nothing ought to escape a painter's observation, but for no other reason.

There is another caution which I wish to give you. Be as select in those whom you endeavour to please, as in those whom you endeavour to imitate. Without the love of fame you can never do anything excellent; but by an excessive and undistinguishing thirst after it, you will come to have vulgar views; you will degrade your style; and your taste will be entirely corrupted. It is certain that the lowest style will be the most popular, as it falls within the compass of ignorance itself; and the vulgar will always be pleased with what is natural in the confined and misunderstood sense of the word.

One would wish that such depravation of taste should be counteracted, with such manly pride as Euripides expressed to the Athenians, who criticised his works, "I do not compose," says he, "my works in order to be corrected by you, but to instruct you." It is true, to have a right to speak thus, a man must be a Euripides. However, thus much may be allowed, that when an artist is sure that he is upon firm ground, supported by the authority and practice of his predecessors of the greatest reputation, he may then assume the boldness and intrepidity of genius; at any rate, he must not be tempted out of the right path by any tide of popularity that always accompanies the lower styles of painting.

I mention this, because our exhibitions, that produce such admirable effects by nourishing emulation, and calling out genius, have also a mischievous tendency by seducing the painter to an ambition of pleasing indiscriminately the mixed multitude of people who resort to them.



A DISCOURSE Delivered to the Students of the Royal Academy on the Distribution of the Prizes, December 10, 1774, by the President.

Gentlemen,—When I have taken the liberty of addressing you on the course and order of your studies, I never proposed to enter into a minute detail of the art. This I have always left to the several professors, who pursue the end of our institution with the highest honour to themselves, and with the greatest advantage to the students.

My purpose in the discourses I have held in the Academy is to lay down certain general ideas, which seem to me proper for the formation of a sound taste; principles necessary to guard the pupils against those errors into which the sanguine temper common at their time of life, has a tendency to lead them, and which have rendered abortive the hopes of so many successions of promising young men in all parts of Europe.

I wish, also, to intercept and suppress those prejudices which particularly prevail when the mechanism of painting is come to its perfection, and which when they do prevail are certain to prevail to the utter destruction of the higher and more valuable parts of this literate and liberal profession.

These two have been my principal purposes; they are still as much my concern as ever; and if I repeat my own ideas on the subject, you who know how fast mistake and prejudice, when neglected, gain ground upon truth and reason, will easily excuse me. I only attempt to set the same thing in the greatest variety of lights.

The subject of this discourse will be imitation, as far as a painter is concerned in it. By imitation I do not mean imitation in its largest sense, but simply the following of other masters, and the advantage to be drawn from the study of their works.

Those who have undertaken to write on our art, and have represented it as a kind of inspiration, as a gift bestowed upon peculiar favourites at their birth, seem to ensure a much more favourable disposition from their readers, and have a much more captivating and liberal air, than he who goes about to examine, coldly, whether there are any means by which this art may be acquired; how our mind may be strengthened and expanded, and what guides will show the way to eminence.

It is very natural for those who are unacquainted with the cause of anything extraordinary to be astonished at the effect, and to consider it as a kind of magic. They, who have never observed the gradation by which art is acquired, who see only what is the full result of long labour and application of an infinite number, and infinite variety of acts, are apt to conclude from their entire inability to do the same at once, that it is not only inaccessible to themselves, but can be done by those only who have some gift of the nature of inspiration bestowed upon them.

The travellers into the East tell us that when the ignorant inhabitants of these countries are asked concerning the ruins of stately edifices yet remaining amongst them, the melancholy monuments of their former grandeur and long-lost science, they always answer that they were built by magicians. The untaught mind finds a vast gulf between its own powers and these works of complicated art which it is utterly unable to fathom. And it supposes that such a void can be passed only by supernatural powers.

And, as for artists themselves, it is by no means their interest to undeceive such judges, however conscious they may be of the very natural means by which the extraordinary powers were acquired; our art being intrinsically imitative, rejects this idea of inspiration more, perhaps, than any other.

It is to avoid this plain confession of truth, as it should seem, that this imitation of masters—indeed, almost all imitation which implies a more regular and progressive method of attaining the ends of painting—has ever been particularly inveighed against with great keenness, both by ancient and modern writers.

To derive all from native power, to owe nothing to another, is the praise which men, who do not much think what they are saying, bestow sometimes upon others, and sometimes on themselves; and their imaginary dignity is naturally heightened by a supercilious censure of the low, the barren, the grovelling, the servile imitator. It would be no wonder if a student, frightened by these terrors and disgraceful epithets, with which the poor imitators are so often loaded, should let fall his pencil in mere despair, conscious how much he has been indebted to the labours of others, how little, how very little of his art was born with him; and, considering it as hopeless, to set about acquiring by the imitation of any human master what he is taught to suppose is matter of inspiration from heaven.

Some allowance must be made for what is said in the gaiety or ambition of rhetoric. We cannot suppose that any one can really mean to exclude all imitation of others. A position so wild would scarce deserve a serious answer, for it is apparent, if we were forbid to make use of the advantages which our predecessors afford us, the art would be always to begin, and consequently remain always in its infant state; and it is a common observation that no art was ever invented and carried to perfection at the same time.

But to bring us entirely to reason and sobriety, let it be observed, that a painter must not only be of necessity an imitator of the works of nature, which alone is sufficient to dispel this phantom of inspiration, but he must be as necessarily an imitator of the works of other painters. This appears more humiliating, but it is equally true; and no man can be an artist, whatever he may suppose, upon any other terms.

However, those who appear more moderate and reasonable allow that study is to begin by imitation, but that we should no longer use the thoughts of our predecessors when we are become able to think for ourselves. They hold that imitation is as hurtful to the more advanced student as it was advantageous to the beginner.

For my own part, I confess I am not only very much disposed to lay down the absolute necessity of imitation in the first stages of the art, but am of opinion that the study of other masters, which I here call imitation, may be extended throughout our whole life without any danger of the inconveniences with which it is charged, of enfeebling the mind, or preventing us from giving that original air which every work undoubtedly ought always to have.

I am, on the contrary, persuaded that by imitation only, variety, and even originality of invention is produced.

I will go further; even genius, at least what generally is so called, is the child of imitation. But as this appears to be contrary to the general opinion, I must explain my position before I enforce it.

Genius is supposed to be a power of producing excellences which are out of the reach of the rules of art—a power which no precepts can teach, and which no industry can acquire.

This opinion of the impossibility of acquiring those beauties which stamp the work with the character of genius, supposes that it is something more fixed than in reality it is, and that we always do, and ever did agree, about what should be considered as a characteristic of genius.

But the truth is that the degree of excellence which proclaims genius is different in different times and different places; and what shows it to be so is that mankind have often changed their opinion upon this matter.

When the arts were in their infancy, the power of merely drawing the likeness of any object was considered as one of its greatest efforts.

The common people, ignorant of the principles of art, talk the same language even to this day. But when it was found that every man could be taught to do this, and a great deal more, merely by the observance of certain precepts, the name of genius then shifted its application, and was given only to those who added the peculiar character of the object they represented; to those who had invention, expression, grace, or dignity; or, in short, such qualities or excellences the producing of which could not then be taught by any known and promulgated rules.

We are very sure that the beauty of form, the expression of the passions, the art of composition, even the power of giving a general air of grandeur to your work, is at present very much under the dominion of rules. These excellences were, heretofore, considered merely as the effects of genius; and justly, if genius is not taken for inspiration, but as the effect of close observation and experience.

He who first made any of these observations and digested them, so as to form an invariable principle for himself to work by, had that merit; but probably no one went very far at once; and generally the first who gave the hint did not know how to pursue it steadily and methodically, at least not in the beginning. He himself worked on it, and improved it; others worked more, and improved farther, until the secret was discovered, and the practice made as general as refined practice can be made. How many more principles may be fixed and ascertained we cannot tell; but as criticism is likely to go hand in hand with the art which is its subject, we may venture to say that as that art shall advance, its powers will be still more and more fixed by rules.

But by whatever strides criticism may gain ground, we need be under no apprehension that invention will ever be annihilated or subdued, or intellectual energy be brought entirely within the restraint of written law. Genius will still have room enough to expatiate, and keep always the same distance from narrow comprehension and mechanical performance.

What we now call genius begins, not where rules, abstractedly taken, end, but where known vulgar and trite rules have no longer any place. It must of necessity be that even works of genius, as well as every other effect, as it must have its cause, must likewise have its rules; it cannot be by chance that excellences are produced with any constancy, or any certainty, for this is not the nature of chance, but the rules by which men of extraordinary parts, and such as are called men of genius work, are either such as they discover by their own peculiar observation, or of such a nice texture as not easily to admit handling or expressing in words, especially as artists are not very frequently skilful in that mode of communicating ideas.

Unsubstantial, however, as these rules may seem, and difficult as it may be to convey them in writing, they are still seen and felt in the mind of the artist, and he works from them with as much certainty as if they were embodied, as I may say, upon paper. It is true these refined principles cannot be always made palpable, like the more gross rules of art; yet it does not follow but that the mind may be put in such a train that it shall perceive, by a kind of scientific sense, that propriety which words, particularly words of unpractised writers such as we are, can but very feebly suggest.

Invention is one of the great marks of genius, but if we consult experience, we shall find that it is by being conversant with the inventions of others that we learn to invent, as by reading the thoughts of others we learn to think.

Whoever has so far formed his taste as to be able to relish and feel the beauties of the great masters has gone a great way in his study; for, merely from a consciousness of this relish of the right, the mind swells with an inward pride, and is almost as powerfully affected as if it had itself produced what it admires. Our hearts frequently warmed in this manner by the contact of those whom we wish to resemble, will undoubtedly catch something of their way of thinking, and we shall receive in our own bosoms some radiation at least of their fire and splendour. That disposition, which is so strong in children, still continues with us, of catching involuntarily the general air and manner of those with whom we are most conversant; with this difference only, that a young mind is naturally pliable and imitative, but in a more advanced state it grows rigid, and must be warmed and softened before it will receive a deep impression.

From these considerations, which a little of your reflection will carry a great way further, it appears of what great consequence it is that our minds should be habituated to the contemplation of excellence, and that, far from being contented to make such habits the discipline of our youth only, we should, to the last moment of our lives, continue a settled intercourse with all the true examples of grandeur. Their inventions are not only the food of our infancy, but the substance which supplies the fullest maturity of our vigour.

The mind is but a barren soil; is a soil soon exhausted, and will produce no crop, or only one, unless it be continually fertilised and enriched with foreign matter.

When we have had continually before us the great works of art to impregnate our minds with kindred ideas, we are then, and not till then, fit to produce something, of the same species. We behold all about us with the eyes of these penetrating observers, and our minds, accustomed to think the thoughts of the noblest and brightest intellects, are prepared for the discovery and selection of all that is great and noble in nature. The greatest natural genius cannot subsist on its own stock: he who resolves never to ransack any mind but his own will be soon reduced, from mere barrenness, to the poorest of all imitations; he will be obliged to imitate himself, and to repeat what he has before often repeated. When we know the subject designed by such men, it will never be difficult to guess what kind of work is to be produced.

It is vain for painters or poets to endeavour to invent without materials on which the mind may work, and from which invention must originate. Nothing can come of nothing.

Homer is supposed to be possessed of all the learning of his time. And we are certain that Michael Angelo and Raffaelle were equally possessed of all knowledge in the art which was discoverable in the works of their predecessors.

A mind enriched by an assemblage of all the treasures of ancient and modern art will be more elevated and fruitful in resources in proportion to the number of ideas which have been carefully collected and thoroughly digested. There can be no doubt that he who has the most materials has the greatest means of invention; and if he has not the power of using them, it must proceed from a feebleness of intellect or from the confused manner in which those collections have been laid up in his mind.

The addition of other men's judgment is so far from weakening, as is the opinion of many, our own, that it will fashion and consolidate those ideas of excellence which lay in their birth feeble, ill-shaped, and confused, but which are finished and put in order by the authority and practice of those whose works may be said to have been consecrated by having stood the test of ages.

The mind, or genius, has been compared to a spark of fire which is smothered by a heap of fuel and prevented from blazing into a flame. This simile, which is made use of by the younger Pliny, may be easily mistaken for argument or proof.

There is no danger of the mind's being over-burdened with knowledge, or the genius extinguished by any addition of images; on the contrary, these acquisitions may as well, perhaps better, be compared, if comparisons signified anything in reasoning, to the supply of living embers, which will contribute to strengthen the spark that without the association of more would have died away.

The truth is, he whose feebleness is such as to make other men's thoughts an incumbrance to him can have no very great strength of mind or genius of his own to be destroyed, so that not much harm will be done at worst.

We may oppose to Pliny the greater authority of Cicero, who is continually enforcing the necessity of this method of study. In his dialogue on Oratory he makes Crassus say, that one of the first and most important precepts is to choose a proper model for our imitation. Hoc fit primum in preceptis meis ut demonstremus quem imitemur.

When I speak of the habitual imitation and continued study of masters, it is not to be understood that I advise any endeavour to copy the exact peculiar colour and complexion of another man's mind; the success of such an attempt must always be like his who imitates exactly the air, manner, and gestures of him whom he admires. His model may be excellent, but the copy will be ridiculous; this ridicule does not arise from his having imitated, but from his not having chosen the right mode of imitation.

It is a necessary and warrantable pride to disdain to walk servilely behind any individual, however elevated his rank. The true and liberal ground of imitation is an open field, where, though he who precedes has had the advantage of starting before you, yet it is enough to pursue his course; you need not tread in his footsteps, and you certainly have a right to outstrip him if you can.

Nor, whilst I recommend studying the art from artists, can I be supposed to mean that nature is to be neglected? I take this study in aid and not in exclusion of the other. Nature is, and must be, the fountain which alone is inexhaustible; and from which all excellences must originally flow.

The great use of studying our predecessors is to open the mind, to shorten our labour, and to give us the result of the selection made by those great minds of what is grand or beautiful in nature: her rich stores are all spread out before us; but it is an art, and no easy art, to know how or what to choose, and how to attain and secure the object of our choice.

Thus the highest beauty of form must be taken from nature; but it is an art of long deduction and great experience to know how to find it.

We must not content ourselves with merely admiring and relishing; we must enter into the principles on which the work is wrought; these do not swim on the superficies, and consequently are not open to superficial observers.

Art in its perfection is not ostentatious; it lies hid, and works its effect itself unseen. It is the proper study and labour of an artist to uncover and find out the latent cause of conspicuous beauties, and from thence form principles for his own conduct; such an examination is a continual exertion of the mind, as great, perhaps, as that of the artist whose works he is thus studying.

The sagacious imitator not only remarks what distinguishes the different manner or genius of each master; he enters into the contrivance in the composition, how the masses of lights are disposed, the means by which the effect is produced, how artfully some parts are lost in the ground, others boldly relieved, and how all these are mutually altered and interchanged according to the reason and scheme of the work. He admires not the harmony of colouring alone, but he examines by what artifice one colour is a foil to its neighbour. He looks close into the tints, of what colours they are composed, till he has formed clear and distinct ideas, and has learnt to see in what harmony and good colouring consists. What is learnt in this manner from the works of others becomes really our own, sinks deep, and is never forgotten; nay, it is by seizing on this clue that we proceed forward, and get further and further in enlarging the principle and improving the practice.

There can be no doubt but the art is better learnt from the works themselves than from the precepts which are formed upon these works; but if it is difficult to choose proper models for imitation, it requires no less circumspection to separate and distinguish what in those models we ought to imitate.

I cannot avoid mentioning here, though it is not my intention at present to enter into the art and method of study, an error which students are too apt to fall into.

He that is forming himself must look with great caution and wariness on those peculiarities, or prominent parts, which at first force themselves upon view, and are the marks, or what is commonly called the manner, by which that individual artist is distinguished.

Peculiar marks I hold to be generally, if not always, defects, however difficult it may be, wholly to escape them.

Peculiarities in the works of art are like those in the human figure; it is by them that we are cognisable and distinguished one from another, but they are always so many blemishes, which, however, both in the one case and in the other, cease to appear deformities to those who have them continually before their eyes. In the works of art, even the most enlightened mind, when warmed by beauties of the highest kind, will by degrees find a repugnance within him to acknowledge any defects; nay, his enthusiasm will carry him so far as to transform them into beauties and objects of imitation.

It must be acknowledged that a peculiarity of style, either from its novelty, or by seeming to proceed from a peculiar turn of mind, often escapes blame; on the contrary, it is sometimes striking and pleasing; but this it is vain labour to endeavour to imitate, because novelty and peculiarity being its only merit, when it ceases to be new, it ceases to have value.

A manner, therefore, being a defect, and every painter, however excellent, having a manner, it seems to follow that all kinds of faults, as well as beauties, may be learned under the sanction of the greatest authorities.

Even the great name of Michael Angelo may be used to keep in countenance a deficiency, or rather neglect of colouring, and every other ornamental part of the art.

If the young student is dry and hard, Poussin is the same. If his work has a careless and unfinished air, he has most of the Venetian School to support him. If he makes no selection of objects, but takes individual nature just as he finds it, he is like Rembrandt. If he is incorrect in the proportions of his figures, Correggio was likewise incorrect. If his colours are not blended and united, Rubens was equally crude.

In short, there is no defect but may be excused, if it is a sufficient excuse that it can be imputed to considerable artists; but it must be remembered that it was not by these defects they acquired their reputation: they have a right to our pardon, but not to our admiration.

However, to imitate peculiarities or mistake defects for beauties that man will be most liable who confines his imitation to one favourite master; and, even though he chooses the best, and is capable of distinguishing the real excellences of his model, it is not by such narrow practice that a genius or mastery in the art is acquired. A man is as little likely to form a true idea of the perfection of the art by studying a single artist as he would be of producing a perfectly beautiful figure by an exact imitation of any individual living model.

And as the painter, by bringing together in one piece those beauties which are dispersed amongst a great variety of individuals, produces a figure more beautiful than can be found in nature, so that artist who can unite in himself the excellences of the various painters, will approach nearer to perfection than any one of his masters.

He who confines himself to the imitation of an individual, as he never proposes to surpass, so he is not likely to equal, the object of imitation. He professes only to follow, and he that follows must necessarily be behind.

We should imitate the conduct of the great artists in the course of their studies, as well as the works which they produced, when they were perfectly formed. Raffaelle began by imitating implicitly the manner of Pietro Perugino, under whom he studied; so his first works are scarce to be distinguished from his master's; but soon forming higher and more extensive views, he imitated the grand outline of Michael Angelo. He learnt the manner of using colours from the works of Leonardo da Vinci and Fratre Bartolomeo: to all this he added the contemplation of all the remains of antiquity that were within his reach, and employed others to draw for him what was in Greece and distant places. And it is from his having taken so many models that he became himself a model for all succeeding painters, always imitating, and always original.

If your ambition therefore be to equal Raffaelle, you must do as Raffaelle did; take many models, and not take even him for your guide alone to the exclusion of others. And yet the number is infinite of those who seem, if one may judge by their style, to have seen no other works but those of their master, or of some favourite whose manner is their first wish and their last.

I will mention a few that occur to me of this narrow, confined, illiberal, unscientific, and servile kind of imitators. Guido was thus meanly copied by Elizabetta Sirani, and Simone Cantarini; Poussin, by Verdier and Cheron; Parmigiano, by Jeronimo Mazzuoli; Paolo Veronese and Iacomo Bassan had for their imitators their brothers and sons; Pietro de Cortona was followed by Ciro Ferri and Romanelli; Rubens, by Jacques Jordans and Diepenbeck; Guercino, by his own family, the Gennari; Carlo Marratti was imitated by Giuseppe Chiari and Pietro da Pietri; and Rembrandt, by Bramer, Eckhout, and Flink. All these, to whom may be added a much longer list of painters, whose works among the ignorant pass for those of their masters, are justly to be censured for barrenness and servility.

To oppose to this list a few that have adopted a more liberal style of imitation: Pelegrino Tibaldi, Rosso, and Primaticio did not coldly imitate, but caught something of the fire that animates the works of Michael Angelo. The Carraches formed their style from Pelegrino Tibaldi, Correggio, and the Venetian School. Domenichino, Guido, Lanfranco, Albano, Guercino, Cavidone, Schidone, Tiarini, though it is sufficiently apparent that they came from the School of the Carraches, have yet the appearance of men who extended their views beyond the model that lay before them, and have shown that they had opinions of their own, and thought for themselves, after they had made themselves masters of the general principles of their schools.

Le Seure's first manner resembles very much that of his master Vovet: but as he soon excelled him, so he differed from him in every part of the art. Carlo Marratti succeeded better than those I have first named, and I think owes his superiority to the extension of his views; besides his master Andrea Sacchi, he imitated Raffaelle, Guido, and the Carraches. It is true, there is nothing very captivating in Carlo Marratti; but this proceeded from wants which cannot be completely supplied; that is, want of strength of parts. In this, certainly men are not equal, and a man can bring home wares only in proportion to the capital with which he goes to market. Carlo, by diligence, made the most of what he had; but there was undoubtedly a heaviness about him, which extended itself, uniformly to his invention, expression, his drawing, colouring, and the general effect of his pictures. The truth is, he never equalled any of his patterns in any one thing, and he added little of his own.

But we must not rest contented, even in this general study of the moderns; we must trace back the art to its fountain head, to that source from whence they drew their principal excellences, the monuments of pure antiquity.

All the inventions and thoughts of the ancients, whether conveyed to us in statues, bas-reliefs, intaglios, cameos, or coins, are to be sought after and carefully studied: The genius that hovers over these venerable relics may be called the father of modern art.

From the remains of the works of the ancients the modern arts were revived, and it is by their means that they must be restored a second time. However it may mortify our vanity, we must be forced to allow them our masters; and we may venture to prophecy, that when they shall cease to be studied, arts will no longer flourish, and we shall again relapse into barbarism.

The fire of the artist's own genius operating upon these materials which have been thus diligently collected, will enable him to make new combinations, perhaps, superior to what had ever before been in the possession of the art. As in the mixture of the variety of metals, which are said to have been melted and run together at the burning of Corinth, a new and till then unknown metal was produced equal in value to any of those that had contributed to its composition. And though a curious refiner may come with his crucibles, analyse and separate its various component parts, yet Corinthian brass would still hold its rank amongst the most beautiful and valuable of metals.

We have hitherto considered the advantages of imitation as it tends to form the taste, and as a practice by which a spark of that genius may be caught which illumines these noble works, that ought always to be present to our thoughts.

We come now to speak of another kind of imitation; the borrowing a particular thought, an action, attitude, or figure, and transplanting it into your own work: this will either come under the charge of plagiarism, or be warrantable, and deserve commendation, according to the address with which it is performed. There is some difference likewise whether it is upon the ancients or the moderns that these depredations are made. It is generally allowed that no man need be ashamed of copying the ancients: their works are considered as a magazine of common property, always open to the public, whence every man has a right to what materials he pleases; and if he has the art of using them, they are supposed to become to all intents and purposes his own property.

The collection which Raffaelle made of the thoughts of the ancients with so much trouble, is a proof of his opinion on this subject. Such collections may be made with much more ease, by means of an art scarce known in his time; I mean that of engraving, by which, at an easy rate, every man may now avail himself of the inventions of antiquity.

It must be acknowledged that the works of the moderns are more the property of their authors; he who borrows an idea from an artist, or perhaps from a modern, not his contemporary, and so accommodates it to his own work that it makes a part of it, with no seam or joining appearing, can hardly be charged with plagiarism; poets practise this kind of borrowing without reserve. But an artist should not be contented with this only; he should enter into a competition with his original, and endeavour to improve what he is appropriating to his own work. Such imitation is so far from having anything in it of the servility of plagiarism, that it is a perpetual exercise of the mind, a continual invention.

Borrowing or stealing with such art and caution will have a right to the same lenity as was used by the Lacedemonians; who did not punish theft, but the want of artifice to conceal it.

In order to encourage you to imitation, to the utmost extent, let me add, that very finished artists in the inferior branches of the art will contribute to furnish the mind and give hints of which a skilful painter, who is sensible of what he wants, and is in no danger of being infected by the contact of vicious models, will know how to avail himself. He will pick up from dunghills what by a nice chemistry, passing through his own mind, shall be converted into pure gold; and, under the rudeness of Gothic essays, he will find original, rational, and even sublime inventions.

In the luxuriant style of Paul Veronese, in the capricious compositions of Tintoret, he will find something that will assist his invention, and give points, from which his own imagination shall rise and take flight, when the subject which he treats will, with propriety, admit of splendid effects.

In every school, whether Venetian, French, or Dutch, he will find either ingenious compositions, extraordinary effects, some peculiar expressions, or some mechanical excellence, well worthy his attention and, in some measure, of his imitation; even in the lower class of the French painters, great beauties are often found united with great defects.

Though Coypel wanted a simplicity of taste, and mistook a presumptuous and assuming air for what is grand and majestic; yet he frequently has good sense and judgment in his manner of telling his stories, great skill in his compositions, and is not without a considerable power of expressing the passions, The modern affectation of grace in his works, as well as in those of Bouche and Watteau, may be said to be separated by a very thin partition from the more simple and pure grace of Correggio and Parmigiano.

Amongst the Dutch painters, the correct, firm, and determined pencil, which was employed by Bamboccio and Jan Miel on vulgar and mean subjects, might without any change be employed on the highest, to which, indeed, it seems more properly to belong. The greatest style, if that style is confined to small figures such as Poussin generally painted, would receive an additional grace by the elegance and precision of pencil so admirable in the works of Teniers.

Though this school more particularly excelled in the mechanism of painting, yet there are many who have shown great abilities in expressing what must be ranked above mechanical excellences.

In the works of Frank Hals the portrait painter may observe the composition of a face, the features well put together as the painters express it, from whence proceeds that strong marked character of individual nature which is so remarkable in his portraits, and is not to be found in an equal degree in any other painter. If he had joined to this most difficult part of the art a patience in finishing what he had so correctly planned, he might justly have claimed the place which Vandyke, all things considered, so justly holds as the first of portrait painters.

Others of the same school have shown great power in expressing the character and passions of those vulgar people which are the subjects of their study and attention. Amongst those, Jean Stein seems to be one of the most diligent and accurate observers of what passed in those scenes which he frequented, and which were to him an academy. I can easily imagine that if this extraordinary man had had the good fortune to have been born in Italy instead of Holland, had he lived in Rome instead of Leyden, and had been blessed with Michael Angelo and Raffaelle for his masters instead of Brower and Van Gowen, that the same sagacity and penetration which distinguished so accurately the different characters and expression in his vulgar figures, would, when exerted in the selection and imitation of what was great and elevated in nature, have been equally successful, and his name would have been now ranged with the great pillars and supporters of our art.

Men who, although thus bound down by the almost invincible powers of early habits, have still exerted extraordinary abilities within their narrow and confined circle, and have, from the natural vigour of their mind, given such an interesting expression, such force and energy to their works, though they cannot be recommended to be exactly imitated, may yet invite an artist to endeavour to transfer, by a kind of parody, those excellences to his own works. Whoever has acquired the power of making this use of the Flemish, Venetian, and French schools is a real genius, and has sources of knowledge open to him which were wanting to the great artists who lived in the great age of painting.

To find excellences however dispersed, to discover beauties however concealed by the multitude of defects with which they are surrounded, can be the work only of him who, having a mind always alive to his art, has extended his views to all ages and to all schools, and has acquired from that comprehensive mass which he has thus gathered to himself, a well digested and perfect idea of his art, to which everything is referred. Like a sovereign judge and arbiter of art, he is possessed of that presiding power which separates and attracts every excellence from every school, selects both from what is great and what is little, brings home knowledge from the east and from the west, making the universe tributary towards furnishing his mind and enriching his works with originality and variety of inventions.

Thus I have ventured to give my opinion of what appears to me the true and only method by which an artist makes himself master of his profession, which I hold ought to be one continued course of imitation, that is not to cease but with our lives.

Those who, either from their own engagements and hurry of business, or from indolence, or from conceit and vanity, have neglected looking out of themselves, as far as my experience and observation reaches, have from that time not only ceased to advance and improve in their performance, but have gone backward. They may be compared to men who have lived upon their principal till they are reduced to beggary and left without resources.

I can recommend nothing better, therefore, than that you endeavour to infuse into your works what you learn from the contemplation of the works of others. To recommend this has the appearance of needless and superfluous advice, but it has fallen within my own knowledge that artists, though they are not wanting in a sincere love for their art, though they have great pleasure in seeing good pictures, and are well skilled to distinguish what is excellent or defective in them, yet go on in their own manner, without any endeavour to give a little of those beauties which they admire in others, to their own works. It is difficult to conceive how the present Italian painters, who live in the midst of the treasures of art, should be contented with their own style. They proceed in their common-place inventions, and never think it worth while to visit the works of those great artists with which they are surrounded.

I remember several years ago to have conversed at Rome with an artist of great fame throughout Europe; he was not without a considerable degree of abilities, but those abilities were by no means equal to his own opinion of them. From the reputation he had acquired he too fondly concluded that he stood in the same rank, when compared to his predecessors, as he held with regard to his miserable contemporary rivals.

In conversation about some particulars of the works of Raffaelle, he seemed to have, or to affect to have, a very obscure memory of them. He told me that he had not set his foot in the Vatican for fifteen years together; that indeed he had been in treaty to copy a capital picture of Raffaelle, but that the business had gone off; however, if the agreement had held, his copy would have greatly exceeded the original. The merit of this artist, however great we may suppose it, I am sure would have been far greater, and his presumption would have been far less if he had visited the Vatican, as in reason he ought to have done, once at least every month of his life.

I address myself, gentlemen, to you who have made some progress in the art, and are to be for the future under the guidance of your own judgment and discretion.

I consider you as arrived to that period when you have a right to think for yourselves, and to presume that every man is fallible; to study the masters with a suspicion that great men are not always exempt from great faults; to criticise, compare, and rank their works in your own estimation, as they approach to or recede from that standard of perfection which you have formed in your own mind, but which those masters themselves, it must be remembered, have taught you to make, and which you will cease to make with correctness when you cease to study them. It is their excellences which have taught you their defects.

I would wish you to forget where you are, and who it is that speaks to you. I only direct you to higher models and better advisers. We can teach you here but very little; you are henceforth to be your own teachers. Do this justice, however, to the English Academy, to bear in mind, that in this place you contracted no narrow habits, no false ideas, nothing that could lead you to the imitation of any living master, who may be the fashionable darling of the day. As you have not been taught to flatter us, do not learn to flatter yourselves. We have endeavoured to lead you to the admiration of nothing but what is truly admirable. If you choose inferior patterns, or if you make your own former works, your patterns for your latter, it is your own fault.

The purpose of this discourse, and, indeed, of most of my others, is to caution you against that false opinion, but too prevalent amongst artists, of the imaginary power of native genius, and its sufficiency in great works. This opinion, according to the temper of mind it meets with, almost always produces, either a vain confidence, or a sluggish despair, both equally fatal to all proficiency.

Study, therefore, the great works of the great masters for ever. Study as nearly as you can, in the order, in the manner, on the principles, on which they studied. Study nature attentively, but always with those masters in your company; consider them as models which you are to imitate, and at the same time as rivals which you are to combat.



A DISCOURSE Delivered to the Students of the Royal Academy on the Distribution of the Prizes, December 10th, 1776, by the President.

Gentlemen,—It has been my uniform endeavour, since I first addressed you from this place, to impress you strongly with one ruling idea. I wished you to be persuaded, that success in your art depends almost entirely on your own industry; but the industry which I principally recommended, is not the industry of the hands, but of the mind.

As our art is not a divine gift, so neither is it a mechanical trade. Its foundations are laid in solid science. And practice, though essential to perfection, can never attain that to which it aims, unless it works under the direction of principle.

Some writers upon art carry this point too far, and suppose that such a body of universal and profound learning is requisite, that the very enumeration of its kind is enough to frighten a beginner. Vitruvius, after going through the many accomplishments of nature, and the many acquirements of learning, necessary to an architect, proceeds with great gravity to assert that he ought to be well skilled in the civil law, that he may not be cheated in the title of the ground he builds on.

But without such exaggeration, we may go so far as to assert, that a painter stands in need of more knowledge than is to be picked off his pallet, or collected by looking on his model, whether it be in life or in picture. He can never be a great artist who is grossly illiterate.

Every man whose business is description ought to be tolerably conversant with the poets in some language or other, that he may imbibe a poetical spirit and enlarge his stock of ideas. He ought to acquire a habit of comparing and divesting his notions. He ought not to be wholly unacquainted with that part of philosophy which gives him an insight into human nature, and relates to the manners, characters, passions, and affections. He ought to know something concerning the mind, as well as a great deal concerning the body of man.

For this purpose, it is not necessary that he should go into such a compass of reading, as must, by distracting his attention, disqualify him for the practical part of his profession, and make him sink the performer in the critic. Reading, if it can be made the favourite recreation of his leisure hours, will improve and enlarge his mind without retarding his actual industry.

What such partial and desultory reading cannot afford, may be supplied by the conversation of learned and ingenious men, which is the best of all substitutes for those who have not the means or opportunities of deep study. There are many such men in this age; and they will be pleased with communicating their ideas to artists, when they see them curious and docile, if they are treated with that respect and deference which is so justly their due. Into such society, young artists, if they make it the point of their ambition, will by degrees be admitted. There, without formal teaching, they will insensibly come to feel and reason like those they live with, and find a rational and systematic taste imperceptibly formed in their minds, which they will know how to reduce to a standard, by applying general truth to their own purposes, better perhaps than those to whom they owed the original sentiment.