INTRODUCTION
ItisahappymemorythatassociatesthefoundationofourRoyalAcademywiththedeliveryoftheseinauguraldiscoursesbySirJoshuaReynolds，ontheopeningoftheschools，andatthefirstannualmeetingsforthedistributionofitsprizes。Theylaiddownprinciplesofartfromthepointofviewofamanofgeniuswhohadmadehispowerfelt，andwiththecleargoodsensewhichisthefoundationofallworkthatlooksupwardandmayhopetolive。ThetruthshereexpressedconcerningArtmay，withslightadjustmentofthewayofthought，beappliedtoLiteratureortoanyexerciseofthebestpowersofmindforshapingthedelightsthatraiseustothelargersenseoflife。Inhisseparationoftheutteranceofwholetruthsfrominsistanceuponaccidentsofdetail，Reynoldswasright，becauseheguardedtheexpressionofhisviewwithcarefuldefinitionsofitslimits。InthesamewayBoileauwasright，asacriticofLiterature，indemandingeverywheregoodsense，incondemningthepastebrilliantsofastylethenindecay，andfixingattentionuponthemasterlysimplicityofRomanpoetsinthetimeofAugustus。CriticsbyruleofthumbreducedtheprinciplesclearlydefinedbyBoileautoadullconvention，againstwhichtherecameincourseoftimeastrongreaction。InlikemannertheteachingofReynoldswasappliedbydullmentomuchvagueandconventionalgeneralisationinthenameofdignity。Nevertheless，ReynoldstaughtessentialtruthsofArt。Theprincipleslaiddownbyhimwillneverfailtogivestrengthtotherightartist，ortrueguidancetowardstheappreciationofgoodart，thoughhereandtherewemaynotwhollyassenttosomepassingapplicationofthem，wherethedifferencemaybegreatbetweenafashionofthoughtinhistimeandinours。Arighteousenforcementofexacttruthinourdayhasledmanyintoareadinesstoappreciatemorereallytheminuteimitationofasatindress，oraredherring，thanthenoblestfigureinthebestofRaffaelle’scartoons。Muchgoodshouldcomeofthediffusionofthiswiselittlebook。
JoshuaReynoldswasbornonthe15thofJuly，1723，thesonofaclergymanandschoolmaster，atPlymptoninDevonshire。HisbentforArtwasclearandstrongfromhischildhood。In1741attheageofnineteen，hebeganstudy，andstudiedfortwoyoursinLondonunderThomasHudson，asuccessfulportraitpainter。ThenhewentbacktoDevonshireandpaintedportraits，aidedforsometimeinhiseducationbyattentiontotheworkofWilliamGandyofExeter。Whentwenty-sixyearsold，inMay，1749，ReynoldswastakenawaybyCaptainKeppeltotheMediterranean，andbroughtintocontactwiththeworksofthegreatpaintersofItaly。HestayedtwoyearsinRome，andinaccordancewiththeprinciplesafterwardslaiddownintheselectures，herefused，wheninRome，commissionsforcopying，andgavehismindtominuteobservationoftheartofthegreatmastersbywhoseworkshewassurrounded。HespenttwomonthsinFlorence，sixweeksinVenice，afewdaysinBolognaandParma。\"If，\"hesaid，\"IhadneverseenanyofthefineworksofCorreggio，Ishouldnever，perhaps，haveremarkedinNaturetheexpressionwhichIfindinoneofhispieces;orifIhadremarkedit，Imighthavethoughtittoodifficult，orperhapsimpossibletoexecute。\"
In1753ReynoldscamebacktoEngland，andstayedthreemonthsinDevonshirebeforesettingupastudioinLondon，inSt。Martin’sLane，whichwasthenanartists’quarter。Hissuccesswasrapid。
In1755hehadonehundredandtwenty-fivesitters。SamuelJohnsonfoundinhimhismostcongenialfriend。HemovedtoNewportStreet，andhebuilthimselfastudio——wherethereisnowanauctionroom——at47，Lincoln’sInnFields。Thereheremainedforlife。
In1760theartistsopened，inaroomlentbytheSocietyofArts，afreeExhibitionforthesaleoftheirworks。ThiswascontinuedthenextyearatSpringGardens，withachargeofashillingforadmission。In1765theyobtainedacharterofincorporation，andin1768theKinggavehissupporttothefoundationofaRoyalAcademyofArtsbysecedersfromthepreceding\"IncorporatedSocietyofArtists，\"intowhichpersonalfeelingshadbroughtmuchdivision。Itwastoconsist，liketheFrenchAcademy，offortymembers，andwastomaintainSchoolsopentoallstudentsofgoodcharacterwhocouldgiveevidencethattheyhadfullylearnttherudimentsofArt。ThefoundationbytheKingdatesfromthe10thofDecember，1768。TheSchoolswereopenedonthe2ndofJanuarynextfollowing，andonthatoccasionJoshuaReynolds，whohadbeenelectedPresident——hisagewasthenbetweenforty-fiveandforty-
six——gavetheInauguralAddresswhichformedthefirstoftheseSevenDiscourses。Theothersixweregivenbyhim，asPresident，atthenextsixannualmeetings：andtheywereallshapedtoform，whencollectedintoavolume，acoherentbodyofgoodcounseluponthefoundationsofthepainter’sart。
H。M。
TOTHEKING
Theregularprogressofcultivatedlifeisfromnecessariestoaccommodations，fromaccommodationstoornaments。Byyourillustriouspredecessorswereestablishedmartsformanufactures，andcollegesforscience;butfortheartsofelegance，thoseartsbywhichmanufacturesareembellishedandscienceisrefined，tofoundanacademywasreservedforyourMajesty。
Hadsuchpatronagebeenwithouteffect，therehadbeenreasontobelievethatnaturehad，bysomeinsurmountableimpediment，obstructedourproficiency;buttheannualimprovementoftheexhibitionswhichyourMajestyhasbeenpleasedtoencourageshowsthatonlyencouragementhadbeenwanting。
TogiveadvicetothosewhoarecontendingforroyalliberalityhasbeenforsomeyearsthedutyofmystationintheAcademy;andtheseDiscourseshopeforyourMajesty’sacceptanceaswell-
intendedendeavourstoincitethatemulationwhichyournoticehaskindled，anddirectthosestudieswhichyourbountyhasrewarded。
MayitpleaseyourMajesty，YourMajesty’sMostdutifulservant，Andmostfaithfulsubject，JOSHUAREYNOLDS。
TOTHEMEMBERSOFTHEROYALACADEMY。
Gentlemen，——ThatyouhaveorderedthepublicationofthisDiscourseisnotonlyveryflatteringtome，asitimpliesyourapprobationofthemethodofstudywhichIhaverecommended;butlikewise，asthismethodreceivesfromthatactsuchanadditionalweightandauthorityasdemandsfromthestudentsthatdeferenceandrespect，whichcanbedueonlytotheunitedsenseofsoconsiderableabodyofartists。
Iam，Withthegreatestesteemandrespect，GENTLEMEN，YourmosthumbleAndobedientservant，JOSHUAREYNOLDS
SEVENDISCOURSESONART
ADISCOURSE
DeliveredattheOpeningoftheRoyalAcademy，January2nd，1769，bythePresidentGentlemen，——Anacademyinwhichthepoliteartsmayberegularlycultivatedisatlastopenedamongusbyroyalmunificence。Thismustappearaneventinthehighestdegreeinteresting，notonlytotheartists，buttothewholenation。
ItisindeeddifficulttogiveanyotherreasonwhyanEmpirelikethatofBritainshouldsolonghavewantedanornamentsosuitabletoitsgreatnessthanthatslowprogressionofthingswhichnaturallymakeseleganceandrefinementthelasteffectofopulenceandpower。
Aninstitutionlikethishasoftenbeenrecommendeduponconsiderationsmerelymercantile。Butanacademyfoundeduponsuchprinciplescannevereffectevenitsownnarrowpurposes。Ifithasanoriginnohigher，notastecaneverbeformedinitwhichcanbeusefuleveninmanufactures;butifthehigherartsofdesignflourish，theseinferiorendswillbeansweredofcourse。
Wearehappyinhavingaprincewhohasconceivedthedesignofsuchaninstitution，accordingtoitstruedignity，andpromotesthearts，astheheadofagreat，alearned，apolite，andacommercialnation;andIcannowcongratulateyou，gentlemen，ontheaccomplishmentofyourlongandardentwishes。
ThenumberlessandineffectualconsultationsthatIhavehadwithmanyinthisassembly，toformplansandconcertschemesforanacademy，affordasufficientproofoftheimpossibilityofsucceedingbutbytheinfluenceofMajesty。Buttherehave，perhaps，beentimeswheneventheinfluenceofMajestywouldhavebeenineffectual，anditispleasingtoreflectthatwearethusembodied，wheneverycircumstanceseemstoconcurfromwhichhonourandprosperitycanprobablyarise。
Thereareatthistimeagreaternumberofexcellentartiststhanwereeverknownbeforeatoneperiodinthisnation;thereisageneraldesireamongournobilitytobedistinguishedasloversandjudgesofthearts;thereisagreatersuperfluityofwealthamongthepeopletorewardtheprofessors;and，aboveall，wearepatronisedbyamonarch，who，knowingthevalueofscienceandofelegance，thinkseveryartworthyofhisnoticethattendstosoftenandhumanisethemind。
AftersomuchhasbeendonebyhisMajesty，itwillbewhollyourfaultifourprogressisnotinsomedegreecorrespondenttothewisdomand，generosityoftheinstitution;letusshowourgratitudeinourdiligence，that，thoughourmeritmaynotanswerhisexpectations，yet，atleast，ourindustrymaydeservehisprotection。
Butwhatevermaybeourproportionofsuccess，ofthiswemaybesure，thatthepresentinstitutionwillatleastcontributetoadvanceourknowledgeofthearts，andbringusnearertothatidealexcellencewhichitisthelotofgeniusalwaystocontemplateandnevertoattain。
Theprincipaladvantageofanacademyis，that，besidesfurnishingablementodirectthestudent，itwillbearepositoryforthegreatexamplesoftheart。Thesearethematerialsonwhichgeniusistowork，andwithoutwhichthestrongestintellectmaybefruitlesslyordeviouslyemployed。Bystudyingtheseauthenticmodels，thatideaofexcellencewhichistheresultoftheaccumulatedexperienceofpastagesmaybeatonceacquired，andthetardyandobstructedprogressofourpredecessorsmayteachusashorterandeasierway。Thestudentreceivesatoneglancetheprincipleswhichmanyartistshavespenttheirwholelivesinascertaining;and，satisfiedwiththeireffect，issparedthepainfulinvestigationbywhichtheycometobeknownandfixed。
Howmanymenofgreatnaturalabilitieshavebeenlosttothisnationforwantoftheseadvantages？Theyneverhadanopportunityofseeingthosemasterlyeffortsofgeniuswhichatoncekindlethewholesoul，andforceitintosuddenandirresistibleapprobation。
Raffaelle，itistrue，hadnottheadvantageofstudyinginanacademy;butallRome，andtheworksofMichaelAngeloinparticular，weretohimanacademy。OnthesiteoftheCapellaSistinaheimmediatelyfromadry，Gothic，andeveninsipidmanner，whichattendstotheminuteaccidentaldiscriminationsofparticularandindividualobjects，assumedthatgrandstyleofpainting，whichimprovespartialrepresentationbythegeneralandinvariableideasofnature。
Everyseminaryoflearningmaybesaidtobesurroundedwithanatmosphereoffloatingknowledge，whereeverymindmayimbibesomewhatcongenialtoitsownoriginalconceptions。Knowledge，thusobtained，hasalwayssomethingmorepopularandusefulthanthatwhichisforceduponthemindbyprivatepreceptsorsolitarymeditation。Besides，itisgenerallyfoundthatayouthmoreeasilyreceivesinstructionfromthecompanionsofhisstudies，whosemindsarenearlyonalevelwithhisown，thanfromthosewhoaremuchhissuperiors;anditisfromhisequalsonlythathecatchesthefireofemulation。
Oneadvantage，Iwillventuretoaffirm，weshallhaveinouracademy，whichnoothernationcanboast。Weshallhavenothingtounlearn。Tothispraisethepresentraceofartistshaveajustclaim。Asfarastheyhaveyetproceededtheyareright。Withustheexertionsofgeniuswillhenceforwardbedirectedtotheirproperobjects。Itwillnotbeasithasbeeninotherschools，wherehethattravelledfastestonlywanderedfarthestfromtherightway。
ImpressedasIam，therefore，withsuchafavourableopinionofmyassociatesinthisundertaking，itwouldillbecomemetodictatetoanyofthem。Butastheseinstitutionshavesooftenfailedinothernations，andasitisnaturaltothinkwithregrethowmuchmighthavebeendone，andhowlittlehasbeendone，Imusttakeleavetoofferafewhints，bywhichthoseerrorsmayberectified，andthosedefectssupplied。Thesetheprofessorsandvisitorsmayrejectoradoptastheyshallthinkproper。
Iwouldchieflyrecommendthatanimplicitobediencetotherulesofart，asestablishedbythegreatmasters，shouldbeexactedfromtheYOUNGstudents。Thatthosemodels，whichhavepassedthroughtheapprobationofages，shouldbeconsideredbythemasperfectandinfallibleguidesassubjectsfortheirimitation，nottheircriticism。
Iamconfidentthatthisistheonlyefficaciousmethodofmakingaprogressinthearts;andthathewhosetsoutwithdoubtingwillfindlifefinishedbeforehebecomesmasteroftherudiments。Foritmaybelaiddownasamaxim，thathewhobeginsbypresumingonhisownsensehasendedhisstudiesassoonashehascommencedthem。Everyopportunity，therefore，shouldbetakentodiscountenancethatfalseandvulgaropinionthatrulesarethefettersofgenius。Theyarefettersonlytomenofnogenius;asthatarmour，whichuponthestrongbecomesanornamentandadefence，upontheweakandmisshapenturnsintoaload，andcripplesthebodywhichitwasmadetoprotect。
Howmuchlibertymaybetakentobreakthroughthoserules，and，asthepoetexpressesit，\"Tosnatchagracebeyondthereachofart，\"
maybeanafterconsideration，whenthepupilsbecomemastersthemselves。Itisthen，whentheirgeniushasreceiveditsutmostimprovement，thatrulesmaypossiblybedispensedwith。Butletusnotdestroythescaffolduntilwehaveraisedthebuilding。
Thedirectorsoughtmoreparticularlytowatchoverthegeniusofthosestudentswho，beingmoreadvanced，arearrivedatthatcriticalperiodofstudy，onthenicemanagementofwhichtheirfutureturnoftastedepends。Atthatageitisnaturalforthemtobemorecaptivatedwithwhatisbrilliantthanwithwhatissolid，andtoprefersplendidnegligencetopainfulandhumiliatingexactness。
Afacilityincomposing，alively，andwhatiscalledamasterlyhandlingthechalkorpencil，are，itmustbeconfessed，captivatingqualitiestoyoungminds，andbecomeofcoursetheobjectsoftheirambition。Theyendeavourtoimitatethosedazzlingexcellences，whichtheywillfindnogreatlabourinattaining。Aftermuchtimespentinthesefrivolouspursuits，thedifficultywillbetoretreat;butitwillbethentoolate;andthereisscarceaninstanceofreturntoscrupulouslabourafterthemindhasbeendebauchedanddeceivedbythisfallaciousmastery。
Bythisuselessindustrytheyareexcludedfromallpowerofadvancinginrealexcellence。Whilstboys，theyarearrivedattheirutmostperfection;theyhavetakentheshadowforthesubstance;andmakethatmechanicalfacilitythechiefexcellenceoftheart，whichisonlyanornament，andofthemeritofwhichfewbutpaintersthemselvesarejudges。
Thisseemstometobeoneofthemostdangeroussourcesofcorruption;andIspeakofitfromexperience，notasanerrorwhichmaypossiblyhappen，butwhichhasactuallyinfectedallforeignacademies。Thedirectorswereprobablypleasedwiththisprematuredexterityintheirpupils，andpraisedtheirdespatchattheexpenseoftheircorrectness。
Butyoungmenhavenotonlythisfrivolousambitionofbeingthoughtmasterlyincitingthemononehand，butalsotheirnaturalslothtemptingthemontheother。Theyareterrifiedattheprospectbeforethem，ofthetoilrequiredtoattainexactness。
Theimpetuosityofyouthisdistrustedattheslowapproachesofaregularsiege，anddesires，frommereimpatienceoflabour，totakethecitadelbystorm。Theywishtofindsomeshorterpathtoexcellence，andhopetoobtaintherewardofeminencebyothermeansthanthosewhichtheindispensablerulesofarthaveprescribed。Theymust，therefore，betoldagainandagainthatlabouristheonlypriceofsolidfame，andthatwhatevertheirforceofgeniusmaybe，thereisnoeasymethodofbecomingagoodpainter。
Whenwereadthelivesofthemosteminentpainters，everypageinformsusthatnopartoftheirtimewasspentindissipation。
Evenanincreaseoffameservedonlytoaugmenttheirindustry。Tobeconvincedwithwhatperseveringassiduitytheypursuedtheirstudies，weneedonlyreflectontheirmethodofproceedingintheirmostcelebratedworks。Whentheyconceivedasubject，theyfirstmadeavarietyofsketches;thenafinisheddrawingofthewhole;afterthatamorecorrectdrawingofeveryseparatepart，heads，hands，feet，andpiecesofdrapery;theythenpaintedthepicture，andafterallre-toucheditfromthelife。Thepictures，thuswroughtwithsuchpain，nowappearliketheeffectofenchantment，andasifsomemightygeniushadstruckthemoffatablow。
But，whilstdiligenceisthusrecommendedtothestudents，thevisitorswilltakecarethattheirdiligencebeeffectual;thatitbewelldirectedandemployedontheproperobject。Astudentisnotalwaysadvancingbecauseheisemployed;hemustapplyhisstrengthtothatpartoftheartwheretherealdifficultieslie;
tothatpartwhichdistinguishesitasaliberalart，andnotbymistakenindustrylosehistimeinthatwhichismerelyornamental。
Thestudents，insteadofvyingwitheachotherwhichshallhavethereadiestband，shouldbetaughttocontendwhoshallhavethepurestandmostcorrectoutline，insteadofstrivingwhichshallproducethebrightesttint，or，curiouslytriflingendeavourtogivetheglossofstuffssoastoappearreal，lettheirambitionbedirectedtocontendwhichshalldisposehisdraperyinthemostgracefulfolds，whichshallgivethemostgraceanddignitytothehumanfigure。
Imustbegleavetosubmitonethingmoretotheconsiderationofthevisitors，whichappearstomeamatterofverygreatconsequence，andtheomissionofwhichIthinkaprincipaldefectinthemethodofeducationpursuedinalltheacademiesIhaveevervisited。TheerrorImeanis，thatthestudentsneverdrawexactlyfromthelivingmodelswhichtheyhavebeforethem。Itisnotindeedtheirintention，noraretheydirectedtodoit。Theirdrawingsresemblethemodelonlyintheattitude。Theychangetheformaccordingtotheirvagueanduncertainideasofbeauty，andmakeadrawingratherofwhattheythinkthefigureoughttobethanofwhatitappears。Ihavethoughtthistheobstaclethathasstoppedtheprogressofmanyyoungmenofrealgenius;andIverymuchdoubtwhetherahabitofdrawingcorrectlywhatweseewillnotgiveaproportionablepowerofdrawingcorrectlywhatweimagine。Hewhoendeavourstocopynicelythefigurebeforehimnotonlyacquiresahabitofexactnessandprecision，butiscontinuallyadvancinginhisknowledgeofthehumanfigure;andthoughheseemstosuperficialobserverstomakeaslowerprogress，hewillbefoundatlastcapableofadding（withoutrunningintocapriciouswildness）thatgraceandbeautywhichisnecessarytobegiventohismorefinishedworks，andwhichcannotbegotbythemoderns，asitwasnotacquiredbytheancients，butbyanattentiveandwell-comparedstudyofthehumanform。
WhatIthinkoughttoenforcethismethodis，thatithasbeenthepractice（asmaybeseenbytheirdrawings）ofthegreatmastersintheart。IwillmentionadrawingofRaffaelle，\"TheDisputeoftheSacrament，\"theprintofwhich，byCountCailus，isineveryhand。Itappearsthathemadehissketchfromonemodel;andthehabithehadofdrawingexactlyfromtheformbeforehimappearsbyhismakingallthefigureswiththesamecap，suchashismodelthenhappenedtowear;soservileacopyistwasthisgreatman，evenatatimewhenhewasallowedtobeathishighestpitchofexcellence。
IhaveseenalsoacademyfiguresbyAnnibaleCaracci，thoughhewasoftensufficientlylicentiousinhisfinishedworks，drawnwithallthepeculiaritiesofanindividualmodel。
Thisscrupulousexactnessissocontrarytothepracticeoftheacademies，thatitisnotwithoutgreatdeferencethatIbegleavetorecommendittotheconsiderationofthevisitors，andsubmitittothem，whethertheneglectofthismethodisnotoneofthereasonswhystudentssooftendisappointexpectation，andbeingmorethanboysatsixteen，becomelessthanmenatthirty。
Inshort，themethodIrecommendcanonlybedetrimentalwhentherearebutfewlivingformstocopy;forthenstudents，byalwaysdrawingfromonealone，willbyhabitbetaughttooverlookdefects，andmistakedeformityforbeauty。Butofthisthereisnodanger，sincethecouncilhasdeterminedtosupplytheacademywithavarietyofsubjects;andindeedthoselawswhichtheyhavedrawnup，andwhichthesecretarywillpresentlyreadforyourconfirmation，haveinsomemeasureprecludedmefromsayingmoreuponthisoccasion。Instead，therefore，ofofferingmyadvice，permitmetoindulgemywishes，andexpressmyhope，thatthisinstitutionmayanswertheexpectationsofitsroyalfounder;thatthepresentagemayvieinartswiththatofLeoX。andthat\"thedignityofthedyingart\"（tomakeuseofanexpressionofPliny）
mayberevivedunderthereignofGeorgeIII。
ADISCOURSE
DeliveredtotheStudentsoftheRoyalAcademy，ontheDistributionofthePrizes，December11，I769，bythePresident。
Gentlemen，——Icongratulateyouonthehonourwhichyouhavejustreceived。Ihavethehighestopinionofyourmerits，andcouldwishtoshowmysenseoftheminsomethingwhichpossiblymaybemoreusefultoyouthanbarrenpraise。Icouldwishtoleadyouintosuchacourseofstudyasmayrenderyourfutureprogressanswerabletoyourpastimprovement;and，whilstIapplaudyouforwhathasbeendone，remindyouofhowmuchyetremainstoattainperfection。
Iflattermyself，thatfromthelongexperienceIhavehad，andtheunceasingassiduitywithwhichIhavepursuedthosestudies，inwhich，likeyou，Ihavebeenengaged，Ishallbeacquittedofvanityinofferingsomehintstoyourconsideration。Theyareindeedinagreatdegreefoundeduponmyownmistakesinthesamepursuit。Butthehistoryoferrorsproperlymanagedoftenshortenstheroadtotruth。AndalthoughnomethodofstudythatIcanofferwillofitselfconducttoexcellence，yetitmaypreserveindustryfrombeingmisapplied。
Inspeakingtoyouofthetheoryoftheart，Ishallonlyconsideritasithasarelationtothemethodofyourstudies。
Dividingthestudyofpaintingintothreedistinctperiods，Ishalladdressyouashavingpassedthroughthefirstofthem，whichisconfinedtotherudiments，includingafacilityofdrawinganyobjectthatpresentsitself，atolerablereadinessinthemanagementofcolours，andanacquaintancewiththemostsimpleandobviousrulesofcomposition。
Thisfirstdegreeofproficiencyis，inpainting，whatgrammarisinliterature，ageneralpreparationtowhateverspeciesoftheartthestudentmayafterwardschooseforhismoreparticularapplication。Thepowerofdrawing，modelling，andusingcoloursisveryproperlycalledthelanguageoftheart;andinthislanguage，thehonoursyouhavejustreceivedproveyoutohavemadenoinconsiderableprogress。
Whentheartistisonceenabledtoexpresshimselfwithsomedegreeofcorrectness，hemustthenendeavourtocollectsubjectsforexpression;toamassastockofideas，tobecombinedandvariedasoccasionmayrequire。Heisnowinthesecondperiodofstudy，inwhichhisbusinessistolearnallthathashithertobeenknownanddone。Havinghithertoreceivedinstructionsfromaparticularmaster，heisnowtoconsidertheartitselfashismaster。Hemustextendhiscapacitytomoresublimeandgeneralinstructions。
Thoseperfectionswhichliescatteredamongvariousmastersarenowunitedinonegeneralidea，whichishenceforthtoregulatehistasteandenlargehisimagination。Withavarietyofmodelsthusbeforehim，hewillavoidthatnarrownessandpovertyofconceptionwhichattendsabigotedadmirationofasinglemaster，andwillceasetofollowanyfavouritewhereheceasestoexcel。Thisperiodis，however，stillatimeofsubjectionanddiscipline。
Thoughthestudentwillnotresignhimselfblindlytoanysingleauthoritywhenhemayhavetheadvantageofconsultingmany，hemuststillbeafraidoftrustinghisownjudgment，andofdeviatingintoanytrackwherehecannotfindthefootstepsofsomeformermaster。
Thethirdandlastperiodemancipatesthestudentfromsubjectiontoanyauthoritybutwhatheshallhimselfjudgetobesupportedbyreason。Confidingnowinhisownjudgment，hewillconsiderandseparatethosedifferentprinciplestowhichdifferentmodesofbeautyowetheiroriginal。Intheformerperiodhesoughtonlytoknowandcombineexcellence，whereveritwastobefound，intooneideaofperfection;inthishelearns，whatrequiresthemostattentivesurveyandthesubtledisquisition，todiscriminateperfectionsthatareincompatiblewitheachother。
Heisfromthistimetoregardhimselfasholdingthesamerankwiththosemasterswhomhebeforeobeyedasteachers，andasexercisingasortofsovereigntyoverthoseruleswhichhavehithertorestrainedhim。Comparingnownolongertheperformancesofartwitheachother，butexaminingtheartitselfbythestandardofnature，hecorrectswhatiserroneous，supplieswhatisscanty，andaddsbyhisownobservationwhattheindustryofhispredecessorsmayhaveyetleftwantingtoperfection。Havingwellestablishedhisjudgment，andstoredhismemory，hemaynowwithoutfeartrythepowerofhisimagination。Themindthathasbeenthusdisciplinedmaybeindulgedinthewarmestenthusiasm，andventuretoplayonthebordersofthewildestextravagance。Thehabitualdignity，whichlongconversewiththegreatestmindshasimpartedtohim，willdisplayitselfinallhisattempts，andhewillstandamonghisinstructors，notasanimitator，butarival。
Thesearethedifferentstagesoftheart。ButasInowaddressmyselfparticularlytothosestudentswhohavebeenthisdayrewardedfortheirhappypassagethroughthefirstperiod，Icanwithnoproprietysupposetheywantanyhelpintheinitiatorystudies。Mypresentdesignistodirectyourviewtodistantexcellence，andtoshowyouthereadiestpaththatleadstoit。OfthisIshallspeakwithsuchlatitudeasmayleavetheprovinceoftheprofessoruninvaded，andshallnotanticipatethosepreceptswhichitishisbusinesstogiveandyourdutytounderstand。
Itisindisputablyevidentthatagreatpartofeveryman’slifemustbeemployedincollectingmaterialsfortheexerciseofgenius。Invention，strictlyspeaking，islittlemorethananewcombinationofthoseimageswhichhavebeenpreviouslygatheredanddepositedinthememory。Nothingcancomeofnothing。Hewhohaslaidupnomaterialscanproducenocombinations。
Astudentunacquaintedwiththeattemptsofformeradventurersisalwaysapttooverratehisownabilities，tomistakethemosttriflingexcursionsfordiscoveriesofmoment，andeverycoastnewtohimforanew-foundcountry。Ifbychancehepassesbeyondhisusuallimits，hecongratulateshisownarrivalatthoseregionswhichtheywhohavesteeredabettercoursehavelongleftbehindthem。
Theproductionsofsuchmindsareseldomdistinguishedbyanairoforiginality：theyareanticipatedintheirhappiestefforts;andiftheyarefoundtodifferinanythingfromtheirpredecessors，itisonlyinirregularsalliesandtriflingconceits。Themoreextensivethereforeyouracquaintanceiswiththeworksofthosewhohaveexcelledthemoreextensivewillbeyourpowersofinvention;andwhatmayappearstillmorelikeaparadox，themoreoriginalwillbeyourconceptions。Butthedifficultyonthisoccasionistodeterminewhooughttobeproposedasmodelsofexcellence，andwhooughttobeconsideredastheproperestguides。
ToayoungmanjustarrivedinItaly，manyofthepresentpaintersofthatcountryarereadyenoughtoobtrudetheirprecepts，andtooffertheirownperformancesasexamplesofthatperfectionwhichtheyaffecttorecommend。Themodern，however，whorecommendsHIMSELFasastandard，mayjustlybesuspectedasignorantofthetrueend，andunacquaintedwiththeproperobjectoftheartwhichheprofesses。Tofollowsuchaguidewillnotonlyretardthestudent，butmisleadhim。
Onwhom，then，canherely，orwhoshallshowhimthepaththatleadstoexcellence？Theanswerisobvious：Thosegreatmasterswhohavetravelledthesameroadwithsuccessarethemostlikelytoconductothers。Theworksofthosewhohavestoodthetestofageshaveaclaimtothatrespectandvenerationtowhichnomoderncanpretend。Thedurationandstabilityoftheirfameissufficienttoevincethatithasnotbeensuspendedupontheslenderthreadoffashionandcaprice，butboundtothehumanheartbyeverytieofsympatheticapprobation。
Thereisnodangerofstudyingtoomuchtheworksofthosegreatmen，buthowtheymaybestudiedtoadvantageisaninquiryofgreatimportance。
Somewhohaveneverraisedtheirmindstotheconsiderationoftherealdignityoftheart，andwhoratetheworksofanartistinproportionastheyexcel，oraredefectiveinthemechanicalparts，lookontheoryassomethingthatmayenablethemtotalkbutnottopaintbetter，andconfiningthemselvesentirelytomechanicalpractice，veryassiduouslytoiloninthedrudgeryofcopying，andthinktheymakearapidprogresswhiletheyfaithfullyexhibittheminutestpartofafavouritepicture。Thisappearstomeaverytedious，andIthinkaveryerroneous，methodofproceeding。Ofeverylargecomposition，evenofthosewhicharemostadmired，agreatpartmaybetrulysaidtobecommon-place。This，thoughittakesupmuchtimeincopying，conduceslittletoimprovement。I
considergeneralcopyingasadelusivekindofindustry;thestudentsatisfieshimselfwiththeappearanceofdoingsomething;
hefallsintothedangeroushabitofimitatingwithoutselecting，andoflabouringwithoutanydeterminateobject;asitrequiresnoeffortofthemind，hesleepsoverhiswork;andthosepowersofinventionandcompositionwhichoughtparticularlytobecalledoutandputinactionlietorpid，andlosetheirenergyforwantofexercise。
Itisanobservationthatallmusthavemade，howincapablethoseareofproducinganythingoftheirownwhohavespentmuchoftheirtimeinmakingfinishedcopies。
Tosupposethatthecomplicationofpowers，andvarietyofideasnecessarytothatmindwhichaspirestothefirsthonoursilltheartofpainting，canbeobtainedbythefrigidcontemplationofafewsinglemodels，isnolessabsurdthanitwouldbeinhimwhowishestobeapoettoimaginethatbytranslatingatragedyhecanacquiretohimselfsufficientknowledgeoftheappearancesofnature，theoperationsofthepassions，andtheincidentsoflife。
Thegreatuseincopying，ifitbeatalluseful，shouldseemtobeinlearningtocolour;yetevencolouringwillneverbeperfectlyattainedbyservilelycopyingthemouldbeforeyou。Aneyecriticallynicecanonlybeformedbyobservingwell-colouredpictureswithattention：andbycloseinspection，andminuteexaminationyouwilldiscover，atlast，themannerofhandling，theartificesofcontrast，glazing，andotherexpedients，bywhichgoodcolouristshaveraisedthevalueoftheirtints，andbywhichnaturehasbeensohappilyimitated。
Imustinformyou，however，thatoldpicturesdeservedlycelebratedfortheircolouringareoftensochangedbydirtandvarnish，thatweoughtnottowonderiftheydonotappearequaltotheirreputationintheeyesofunexperiencedpainters，oryoungstudents。Anartistwhosejudgmentismaturedbylongobservation，considersratherwhatthepictureoncewas，thanwhatitisatpresent。Hehasacquiredapowerbyhabitofseeingthebrilliancyoftintsthroughthecloudbywhichitisobscured。Anexactimitation，therefore，ofthosepictures，islikelytofillthestudent’smindwithfalseopinions，andtosendhimbackacolouristofhisownformation，withideasequallyremotefromnatureandfromart，fromthegenuinepracticeofthemastersandtherealappearancesofthings。
Followingtheserules，andusingtheseprecautions，whenyouhaveclearlyanddistinctlylearnedinwhatgoodcolouringconsists，youcannotdobetterthanhaverecoursetonatureherself，whoisalwaysathand，andincomparisonofwhosetruesplendourthebestcolouredpicturesarebutfaintandfeeble。
However，asthepracticeofcopyingisnotentirelytobeexcluded，sincethemechanicalpracticeofpaintingislearnedinsomemeasurebyit，letthosechoicepartsonlybeselectedwhichhaverecommendedtheworktonotice。Ifitsexcellenceconsistsinitsgeneraleffect，itwouldbepropertomakeslightsketchesofthemachineryandgeneralmanagementofthepicture。Thosesketchesshouldbekeptalwaysbyyoufortheregulationofyourstyle。
Insteadofcopyingthetouchesofthosegreatmasters，copyonlytheirconceptions。Insteadoftreadingintheirfootsteps，endeavouronlytokeepthesameroad。Labourtoinventontheirgeneralprinciplesandwayofthinking。Possessyourselfwiththeirspirit。ConsiderwithyourselfhowaMichaelAngelooraRaffaellewouldhavetreatedthissubject：andworkyourselfintoabeliefthatyourpictureistobeseenandcriticisedbythemwhencompleted。Evenanattemptofthiskindwillrouseyourpowers。
Butasmereenthusiasmwillcarryyoubutalittleway，letmerecommendapracticethatmaybeequivalent，andwillperhapsmoreefficaciouslycontributetoyouradvancement，thaneventheverbalcorrectionsofthosemastersthemselves，couldtheybeobtained。
WhatIwouldproposeis，thatyoushouldenterintoakindofcompetition，bypaintingasimilarsubject，andmakingacompaniontoanypicturethatyouconsiderasamodel。Afteryouhavefinishedyourwork，placeitnearthemodel，andcomparethemcarefullytogether。Youwillthennotonlysee，butfeelyourowndeficienciesmoresensiblythanbyprecepts，oranyothermeansofinstruction。Thetrueprinciplesofpaintingwillminglewithyourthoughts。Ideasthusfixedbysensibleobjects，willbecertainanddefinitive;andsinkingdeepintothemind，willnotonlybemorejust，butmorelastingthanthosepresentedtoyoubypreceptsonly：whichwill，alwaysbefleeting，variable，andundetermined。
Thismethodofcomparingyourowneffortswiththoseofsomegreatmaster，isindeedasevereandmortifyingtask，towhichnonewillsubmit，butsuchashavegreatviews，withfortitudesufficienttoforegothegratificationsofpresentvanityforfuturehonour。
Whenthestudenthassucceededinsomemeasuretohisownsatisfaction，andhasfelicitatedhimselfonhissuccess，togovoluntarilytoatribunalwhereheknowshisvanitymustbehumbled，andallself-approbationmustvanish，requiresnotonlygreatresolution，butgreathumility。Tohim，however，whohastheAmbitiontobearealmaster，thesolidsatisfactionwhichproceedsfromaconsciousnessofhisadvancement（ofwhichseeinghisownfaultsisthefirststep）willveryabundantlycompensateforthemortificationofpresentdisappointment。Thereis，besides，thisalleviatingcircumstance。Everydiscoveryhemakes，everyacquisitionofknowledgeheattains，seemstoproceedfromhisownsagacity;andthusheacquiresaconfidenceinhimselfsufficienttokeepuptheresolutionofperseverance。
Weallmusthaveexperiencedhowlazily，andconsequentlyhowineffectually，instructionisreceivedwhenforceduponthemindbyothers。Fewhavebeentaughttoanypurposewhohavenotbeentheirownteachers。Wepreferthoseinstructionswhichwehavegivenourselves，fromouraffectiontotheinstructor;andtheyaremoreeffectual，frombeingreceivedintothemindattheverytimewhenitismostopenandeagertoreceivethem。
Withrespecttothepicturesthatyouaretochooseforyourmodels，Icouldwishthatyouwouldtaketheworld’sopinionratherthanyourown。Inotherwords，Iwouldhaveyouchoosethoseofestablishedreputationratherthanfollowyourownfancy。Ifyoushouldnotadmirethematfirst，youwill，byendeavouringtoimitatethem，findthattheworldhasnotbeenmistaken。
Itisnotaneasytasktopointoutthosevariousexcellencesforyourimitationwhichhedistributedamongstthevariousschools。
Anendeavourtodothismayperhapsbethesubjectofsomefuturediscourse。Iwill，therefore，atpresentonlyrecommendamodelforstyleinpainting，whichisabranchoftheartmoreimmediatelynecessarytotheyoungstudent。Styleinpaintingisthesameasinwriting，apowerovermaterials，whetherwordsorcolours，bywhichconceptionsorsentimentsareconveyed。AndinthisLodovicoCarrache（Imeaninhisbestworks）appearstometoapproachthenearesttoperfection。Hisunaffectedbreadthoflightandshadow，thesimplicityofcolouring，whichholdingitsproperrank，doesnotdrawasidetheleastpartoftheattentionfromthesubject，andthesolemneffectofthattwilightwhichseemsdiffusedoverhispictures，appeartometocorrespondwithgraveanddignifiedsubjects，betterthanthemoreartificialbrilliancyofsunshinewhichenlightensthepicturesofTitian。
ThoughTintoretthoughtthatTitian’scolouringwasthemodelofperfection，andwouldcorrespondevenwiththesublimeofMichaelAngelo;andthatifAngelohadcolouredlikeTitian，orTitiandesignedlikeAngelo，theworldwouldoncehavehadaperfectpainter。
Itisourmisfortune，however，thatthoseworksofCarrachewhichI
wouldrecommendtothestudentarenotoftenfoundoutofBologna。
The\"St。FrancisinthemidstofhisFriars，\"\"TheTransfiguration，\"\"TheBirthofSt。JohntheBaptist，\"\"TheCallingofSt。Matthew，\"the\"St。Jerome，\"thefrescopaintingsintheZampieriPalace，areallworthytheattentionofthestudent。AndIthinkthosewhotravelwoulddowelltoallotamuchgreaterportionoftheirtimetothatcitythanithasbeenhithertothecustomtobestow。
Inthisart，asinothers，therearemanyteacherswhoprofesstoshowthenearestwaytoexcellence，andmanyexpedientshavebeeninventedbywhichthetoilofstudymightbesaved。Butletnomanbeseducedtoidlenessbyspeciouspromises。Excellenceisnevergrantedtomanbutastherewardoflabour。Itargues，indeed，nosmallstrengthofmindtopersevereinhabitsofindustry，withoutthepleasureofperceivingthoseadvances;which，likethehandofaclock，whilsttheymakehourlyapproachestotheirpoint，yetproceedsoslowlyastoescapeobservation。Afacilityofdrawing，likethatofplayinguponamusicalinstrument，cannotbeacquiredbutbyaninfinitenumberofacts。Ineednot，therefore，enforcebymanywordsthenecessityofcontinualapplication;nortellyouthattheport-crayonoughttobeforeverinyourhands。Variousmethodswilloccurtoyoubywhichthispowermaybeacquired。I
wouldparticularlyrecommendthatafteryourreturnfromtheacademy（whereIsupposeyourattendancetobeconstant）youwouldendeavourtodrawthefigurebymemory。Iwillevenventuretoadd，thatbyperseveranceinthiscustom，youwillbecomeabletodrawthehumanfiguretolerablycorrect，withaslittleeffortofthemindastotracewithapenthelettersofthealphabet。
Thatthisfacilityisnotunattainable，somemembersinthisacademygiveasufficientproof。And，beassured，thatifthispowerisnotacquiredwhilstyouareyoung，therewillbenotimeforitafterwards：atleast，theattemptwillbeattendedwithasmuchdifficultyasthoseexperiencewholearntoreadorwriteaftertheyhavearrivedtotheageofmaturity。
ButwhileImentiontheport-crayonasthestudent’sconstantcompanion，hemuststillrememberthatthepencilistheinstrumentbywhichhemusthopetoobtaineminence。What，therefore，Iwishtoimpressuponyouis，thatwheneveranopportunityoffers，youpaintyourstudiesinsteadofdrawingthem。Thiswillgiveyousuchafacilityinusingcolours，thatintimetheywillarrangethemselvesunderthepencil，evenwithouttheattentionofthehandthatconductsit。Ifoneactexcludedtheother，thisadvicecouldnotwithanyproprietybegiven。Butifpaintingcomprisesbothdrawingandcolouringandifbyashortstruggleofresoluteindustrythesameexpeditionisattainableinpaintingasindrawingonpaper，Icannotseewhatobjectioncanjustlybemadetothepractice;orwhythatshouldbedonebyparts，whichmaybedonealtogether。
Ifweturnoureyestotheseveralschoolsofpainting，andconsidertheirrespectiveexcellences，weshallfindthatthosewhoexcelmostincolouringpursuedthismethod。TheVenetianandFlemishschools，whichowemuchoftheirfametocolouring，haveenrichedthecabinetsofthecollectorsofdrawingswithveryfewexamples。ThoseofTitian，PaulVeronese，Tintoret，andtheBassans，areingeneralslightandundetermined。Theirsketchesonpaperareasrudeastheirpicturesareexcellentinregardtoharmonyofcolouring。CorreggioandBaroccihaveleftfew，ifany，finisheddrawingsbehindthem。AndintheFlemishschool，RubensandVandykemadetheirdesignsforthemostparteitherincoloursorinchiaroscuro。ItisascommontofindstudiesoftheVenetianandFlemishpaintersoncanvas，asoftheschoolsofRomeandFlorenceonpaper。Notbutthatmanyfinisheddrawingsaresoldunderthenamesofthosemasters。Those，however，areundoubtedlytheproductionseitherofengraversoroftheirscholarswhocopiedtheirworks。
TheseinstructionsIhaveventuredtoofferfrommyownexperience;
butastheydeviatewidelyfromreceivedopinions，Iofferthemwithdiffidence;andwhenbetteraresuggested，shallretractthemwithoutregret。
Thereisoneprecept，however，inwhichIshallonlybeopposedbythevain，theignorant，andtheidle。IamnotafraidthatIshallrepeatittoooften。Youmusthavenodependenceonyourowngenius。Ifyouhavegreattalents，industrywillimprovethem：ifyouhavebutmoderateabilities，industrywillsupplytheirdeficiency。Nothingisdeniedtowell-directedlabour：nothingistobeobtainedwithoutit。Nottoenterintometaphysicaldiscussionsonthenatureoressenceofgenius，Iwillventuretoassert，thatassiduityunabatedbydifficulty，andadispositioneagerlydirectedtotheobjectofitspursuit，willproduceeffectssimilartothosewhichsomecalltheresultofnaturalpowers。
Thoughamancannotatalltimes，andinallplaces，paintordraw，yetthemindcanprepareitselfbylayinginpropermaterials，atalltimes，andinallplaces。BothLivyandPlutarch，indescribingPhilopoemen，oneoftheablestgeneralsofantiquity，havegivenusastrikingpictureofamindalwaysintentonitsprofession，andbyassiduityobtainingthoseexcellenceswhichsomealltheirlivesvainlyexpectfromNature。IshallquotethepassageinLivyatlength，asitrunsparallelwiththepracticeI
wouldrecommendtothepainter，sculptor，orarchitect。
\"Philopoemenwasamaneminentforhissagacityandexperienceinchoosingground，andinleadingarmies;towhichheformedhismindbyperpetualmeditation，intimesofpeaceaswellaswar。When，inanyoccasionaljourney，hecametoastraightdifficultpassage，ifhewasalone，heconsideredwithhimself，andifhewasincompanyheaskedhisfriendswhatitwouldbebesttodoifinthisplacetheyhadfoundanenemy，eitherinthefront，orintherear，ontheoneside，orontheother。’Itmighthappen，’sayshe，’thattheenemytobeopposedmightcomeondrawnupinregularlines，orinatumultuousbody，formedonlybythenatureoftheplace。’Hethenconsideredalittlewhatgroundheshouldtake;
whatnumberofsoldiersheshoulduse，andwhatarmsheshouldgivethem;whereheshouldlodgehiscarriages，hisbaggage，andthedefencelessfollowersofhiscamp;howmanyguards，andofwhatkind，heshouldsendtodefendthem;andwhetheritwouldbebettertopressforwardalongthepass，orrecoverbyretreathisformerstation：hewouldconsiderlikewisewherehiscampcouldmostcommodiouslybeformed;howmuchgroundheshouldenclosewithinhistrenches;whereheshouldhavetheconvenienceofwater;andwherehemightfindplentyofwoodandforage;andwhenheshouldbreakuphiscamponthefollowingday，throughwhatroadhecouldmostsafelypass，andinwhatformheshoulddisposehistroops。
Withsuchthoughtsanddisquisitionshehadfromhisearlyyearssoexercisedhismind，thatontheseoccasionsnothingcouldhappenwhichhehadnotbeenalreadyaccustomedtoconsider。\"
IcannothelpimaginingthatIseeapromisingyoungpainter，equallyvigilant，whetherathome，orabroadinthestreets，orinthefields。Everyobjectthatpresentsitselfistohimalesson。
Heregardsallnaturewithaviewtohisprofession;andcombinesherbeauties，orcorrectsherdefects。Heexaminesthecountenanceofmenundertheinfluenceofpassion;andoftencatchesthemostpleasinghintsfromsubjectsofturbulenceordeformity。Evenbadpicturesthemselvessupplyhimwithusefuldocuments;and，asLeonardodaVincihasobserved，heimprovesuponthefancifulimagesthataresometimesseeninthefire，orareaccidentallysketcheduponadiscolouredwall。
Theartistwhohashismindthusfilledwithideas，andhishandmadeexpertbypractice，workswitheaseandreadiness;whilsthewhowouldhaveyoubelievethatheiswaitingfortheinspirationsofgenius，isinrealityatalosshowtobeam，andisatlastdeliveredofhismonsterswithdifficultyandpain。
Thewell-groundedpainter，onthecontrary，hasonlymaturelytoconsiderhissubject，andallthemechanicalpartsofhisartfollowwithouthisexertion，Consciousofthedifficultyofobtainingwhathepossesseshemakesnopretensionstosecrets，exceptthoseofcloserapplication。Withoutconceivingthesmallestjealousyagainstothers，heiscontentedthatallshallbeasgreatashimselfwhoarewillingtoundergothesamefatigue：
andashispre-eminencedependsnotuponatrick，heisfreefromthepainfulsuspicionsofajuggler，wholivesinperpetualfearlesthistrickshouldbediscovered。
ADISCOURSE
DeliveredtotheStudentsoftheRoyalAcademyontheDistributionofthePrizes，December，14，1770，bythePresidentGentlemen，——Itisnoteasytospeakwithproprietytosomanystudentsofdifferentagesanddifferentdegreesofadvancement。
Themindrequiresnourishmentadaptedtoitsgrowth;andwhatmayhavepromotedourearlierefforts，might，retardusinournearerapproachestoperfection。
Thefirstendeavoursofayoungpainter，asIhaveremarkedinaformerdiscourse，mustbeemployedintheattainmentofmechanicaldexterity，andconfinedtothemereimitationoftheobjectbeforehim。Thosewhohaveadvancedbeyondtherudiments，may，perhaps，findadvantageinreflectingontheadvicewhichIhavelikewisegiventhem，whenIrecommendedthediligentstudyoftheworksofourgreatpredecessors;butIatthesametimeendeavouredtoguardthemagainstanimplicitsubmissiontotheauthorityofanyonemaster，howeverexcellent;orbyastrictimitationofhismanner，toprecludeourselvesfromtheabundanceandvarietyofnature。I
willnowaddthatnatureherselfisnottobetoocloselycopied。
Thereareexcellencesintheartofpainting，beyondwhatiscommonlycalledtheimitationofnature：andtheseexcellencesI
wishtopointout。Thestudentswho，havingpassedthroughtheinitiatoryexercises，aremoreadvancedintheart，andwho，sureoftheirhand，haveleisuretoexerttheirunderstanding，mustnowbetoldthatamerecopierofnaturecanneverproduceanythinggreat;canneverraiseandenlargetheconceptions，orwarmtheheartofthespectator。
Thewishofthegenuinepaintermustbemoreextensive：insteadofendeavouringtoamusemankindwiththeminuteneatnessofhisimitations，hemustendeavourtoimprovethembythegrandeurofhisideas;insteadofseekingpraise，bydeceivingthesuperficialsenseofthespectator，hemuststriveforfame，bycaptivatingtheimagination。
Theprinciplenowlaiddown，thattheperfectionofthisartdoesnotconsistinmereimitation，isfarfrombeingneworsingular。
Itis，indeed，supportedbythegeneralopinionoftheenlightenedpartofmankind。Thepoets，orators，andrhetoriciansofantiquity，arecontinuallyenforcingthisposition，thatalltheartsreceivetheirperfectionfromanidealbeauty，superiortowhatistobefoundinindividualnature。Theyareeverreferringtothepracticeofthepaintersandsculptorsoftheirtimes，particularlyPhidias（thefavouriteartistofantiquity），toillustratetheirassertions。Asiftheycouldnotsufficientlyexpresstheiradmirationofhisgeniusbywhattheyknew，theyhaverecoursetopoeticalenthusiasm。Theycallitinspiration;agiftfromheaven。Theartistissupposedtohaveascendedthecelestialregions，tofurnishhismindwiththisperfectideaofbeauty。
\"He，\"saysProclus，\"whotakesforhismodelsuchformsasnatureproduces，andconfineshimselftoanexactimitationofthem，willneverattaintowhatisperfectlybeautiful。Fortheworksofnaturearefullofdisproportion，andfallveryshortofthetruestandardofbeauty。SothatPhidias，whenheformedhisJupiter，didnotcopyanyobjecteverpresentstohissight;butcontemplatedonlythatimagewhichhehadconceivedinhismindfromHomer’sdescription。\"AndthusCicero，speakingofthesamePhidias：\"Neitherdidthisartist，\"sayshe，\"whenhecarvedtheimageofJupiterorMinerva，setbeforehimanyonehumanfigureasapattern，whichhewastocopy;buthavingamoreperfectideaofbeautyfixedinhismind，thishesteadilycontemplated，andtotheimitationofthisallhisskillandlabourweredirected。
Themodernsarenotlessconvincedthantheancientsofthissuperiorpowerexistingintheart;norlessconsciousofitseffects。Everylanguagehasadoptedtermsexpressiveofthisexcellence。TheGustograndeoftheItalians;theBeauidealoftheFrenchandtheGREATSTYLE，GENIUS，andTASTEamongtheEnglish，arebutdifferentappellationsofthesamething。Itisthisintellectualdignity，theysay，thatennoblesthepainter’sart;thatlaysthelinebetweenhimandthemeremechanic;andproducesthosegreateffectsinaninstant，whicheloquenceandpoetry，byslowandrepeatedefforts，arescarcelyabletoattain。
Suchisthewarmthwithwhichboththeancientsandmodernsspeakofthisdivineprincipleoftheart;but，asIhaveformerlyobserved，enthusiasticadmirationseldompromotesknowledge。
Thoughastudentbysuchpraisemayhavehisattentionroused，andadesireexcited，ofrunninginthisgreatcareer，yetitispossiblethatwhathasbeensaidtoexcite，mayonlyservetodeterhim。Heexamineshisownmind，andperceivestherenothingofthatdivineinspirationwithwhichheistoldsomanyothershavebeenfavoured。Henevertravelledtoheaventogathernewideas;andhefindshimselfpossessedofnootherqualificationsthanwhatmerecommonobservationandaplainunderstandingcanconfer。Thushebecomesgloomyamidstthesplendouroffigurativedeclamation，andthinksithopelesstopursueanobjectwhichhesupposesoutofthereachofhumanindustry。
Butonthis，asuponmanyotheroccasions，weoughttodistinguishhowmuchistobegiventoenthusiasm，andhowmuchtoreason。Weoughttoallowfor，andweoughttocommend，thatstrengthofvividexpressionwhichisnecessarytoconvey，initsfullforce，thehighestsenseofthemostcompleteeffectofart;takingcareatthesametimenottoloseintermsofvagueadmirationthatsolidityandtruthofprincipleuponwhichalonewecanreason，andmaybeenabledtopractise。
Itisnoteasytodefineinwhatthisgreatstyleconsists;nortodescribe，bywords，thepropermeansofacquiringit，ifthemindofthestudentshouldbeatallcapableofsuchanacquisition。
Couldweteachtasteorgeniusbyrules，theywouldbenolongertasteandgenius。Butthoughthereneitherare，norcanbe，anypreciseinvariablerulesfortheexerciseortheacquisitionofthosegreatqualities，yetwemayastrulysaythattheyalwaysoperateinproportiontoourattentioninobservingtheworksofnature，toourskillinselecting，andtoourcareindigesting，methodising，andcomparingourobservations。Therearemanybeautiesinourart，thatseem，atfirst，toliewithoutthereachofprecept，andyetmayeasilybereducedtopracticalprinciples。
Experienceisallinall;butitisnoteveryonewhoprofitsbyexperience;andmostpeopleerr，notsomuchfromwantofcapacitytofindtheirobject，asfromnotknowingwhatobjecttopursue。
Thisgreatidealperfectionandbeautyarenottobesoughtintheheavens，butupontheearth。Theyareaboutus，anduponeverysideofus。Butthepowerofdiscoveringwhatisdeformedinnature，orinotherwords，whatisparticularanduncommon，canbeacquiredonlybyexperience;andthewholebeautyandgrandeuroftheartconsists，inmyopinion，inbeingabletogetaboveallsingularforms，localcustoms，particularities，anddetailsofeverykind。
Alltheobjectswhichareexhibitedtoourviewbynature，uponcloseexaminationwillbefoundtohavetheirblemishesanddefects。Themostbeautifulformshavesomethingaboutthemlikeweakness，minuteness，orimperfection。Butitisnoteveryeyethatperceivestheseblemishes。Itmustbeaneyelongusedtothecontemplationandcomparisonoftheseforms;andwhich，byalonghabitofobservingwhatanysetofobjectsofthesamekindhaveincommon，thatalonecanacquirethepowerofdiscerningwhateachwantsinparticular。Thislonglaboriouscomparisonshouldbethefirststudyofthepainterwhoaimsatthegreateststyle。Bythismeans，heacquiresajustideaofbeautifulforms;hecorrectsnaturebyherself，herimperfectstatebyhermoreperfect。Hiseyebeingenabledtodistinguishtheaccidentaldeficiencies，excrescences，anddeformitiesofthingsfromtheirgeneralfigures，hemakesoutanabstractideaoftheirformsmoreperfectthananyoneoriginal;andwhatmayseemaparadox，helearnstodesignnaturallybydrawinghisfiguresunliketoanyoneobject。Thisideaoftheperfectstateofnature，whichtheartistcallstheidealbeauty，isthegreatleadingprinciplebywhichworksofgeniusareconducted。BythisPhidiasacquiredhisfame。Hewroughtuponasoberprinciplewhathassomuchexcitedtheenthusiasmoftheworld;andbythismethodyou，whohavecouragetotreadthesamepath，mayacquireequalreputation。