But while I mention the port-crayon as the Student's constant companion, he must still remember, that the pencil is the instrument by which he must hope to obtain eminence. What, therefore, I wish to impress upon you is, that, whenever an opportunity offers, you paint your studies instead of drawing them. This will give you such a facility in using colours, that in time. they will arrange themselves under the pencil, even without the attention of the hand that conducts it. If one act excluded the other, this advice could not with any propriety be given. But if Painting comprises both drawing and colouring, and if by a short struggle of resolute industry, the same expedition is attainable in painting as in drawing on paper, I cannot see what objection can justly be made to the practice, or why that should be done by parts which may be done all together.

If we turn our eyes to the several Schools of Painting, and consider their respective excellences, we shall find that those who excel most in colouring pursued this method. The Venetian and Flemish schools, which owe much of their fame to colouring, have enriched the cabinets of the collectors of drawings with very few examples. Those of Titian, Paul Veronese, Tintoret, and the Bassans, are in general slight and undetermined. Their sketches on paper are as rude as their pictures are excellent in regard to harmony of colouring. Correggio and Baroccio have left few, if any, finished drawings behind them. And in the Flemish school, Rubens and Vandyck made their designs for the most part either in colours or in chiarooscuro. It is as common to find studies of the Venetian and Flemish Painters on canvass as of the schools of Rome and Florence on paper. Not but that many finished drawings are sold under the names of those

masters. Those, however, are undoubtedly the productions either of engravers or their scholars, who copied their works.

These instructions I have ventured to offer from my own experience; but as they deviate widely from received opinions, I offer them with diffidence, and when better are suggested shall retract them without regret.

There is one precept, however, in which I shall only be opposed by the vain, the ignorant, and the idle. I am not afraid that I shall repeat it too often. You must have no dependence on your own genius. If you have great talents, industry will improve them: if you have but moderate abilities, industry will supply their deficiency. Nothing is denied to well-directed labour: nothing is to be obtained without it. Not to enter into metaphysical discussions on the nature or essence of genius, I will venture to assert, that assiduity unabated by difficulty, and a disposition eagerly directed to the object of its pursuit, will produce effects similar to those which some call the result of natural powers.

Though a man cannot at all times, and in all places, paint or draw, yet the mind can prepare itself by laying in proper materials, at all times, and in all places. Both Livy and Plutarch, in describing Philopomen, one of the ablest generals of antiquity, have given us a striking picture of a mind always intent on its profession, and by assiduity obtaining those excellences which some all their lives vainly expect from nature. I shall quote the passage in Livy at length, as it runs parallel with the practice I would recommend to the Painter, Sculptor, and Architect.

"Philopomen was a man eminent for his sagacity and experience in choosing ground, and in leading armies; to which he formed his mind by perpetual me

ditation, in times of peace as well as war. When, in any occasional journey, he came to a strait, difficult passage, if he was alone, he considered with himself, and if he was in company he asked his friends, what it would be best to do if in this place they had found an enemy, either in the front or in the rear, on the one side or on the other? It might happen,' says he, that the enemy to be opposed might come on drawn up in regular lines, or in a tumultuous body, formed only by the nature of the place.' He then considered a little what ground he should take; what number of soldiers he should use, and what arms he should give them; where he should lodge his carriages, his baggage, and the defenceless followers of his camp; how many guards, and of what kind, he should send to defend them; and whether it would be better to press forward along the pass, or recover by retreat his former station : he would consider likewise where his camp could most commodiously be formed; how much ground he should enclose within his trenches; where he should have the convenience of water, and where he might find plenty of wood and forage; and when he should break up his camp on the following day, through what road he could most safely pass, and in what form he should dispose his troops. With such thoughts and disquisitions he had from his early years so exercised his mind, that on these occasions nothing could happen which he had not been already accustomed to consider."

I cannot help imagining that I see a promising young painter equally vigilant, whether at home or abroad, in the streets or in the fields. Every object that presents itself is to him a lesson. He regards all nature with a view to his profession, and combines her beauties, or corrects her defects. He examines the countenance of men under the influence of passion; and often

catches the most pleasing hints from subjects of turbulence or deformity. Even bad pictures themselves supply him with useful documents; and, as Lionardo da Vinci has observed, he improves upon the fanciful images that are sometimes seen in the fire, or are acci. dentally sketched upon a discoloured wall.

The Artist who has his mind thus filled with ideas, and his hand made expert by practice, works with ease and readiness; whilst he who would have you believe that he is waiting for the inspirations of Genius, is in reality at a loss how to begin; and is at last delivered of his monsters with difficulty and pain.

The well-grounded Painter, on the contrary, has only maturely to consider his subject, and all the mechanical parts of his art follow without his exertion. Conscious of the difficulty of obtaining what he possesses, Le makes no pretensions to secrets, except those of closer application. Without conceiving the smallest jealousy against others, he is contented that all shall be as great as himself who have undergone the same fatigue; ard as his pre-eminence depends not upon a trick, he is free from the painful suspicions of a juggler who lives in perpetual fear lest his trick should be discovered.

329

DISCOURSE III.

Delivered to the Students of the Royal Academy on the Distribution of the Prizes, December 14. 1770.

THE GREAT

LEADING PRINCIPLES OF THE GRAND STYLE. OF BEAUTY. THE GENUINE HABITS OF NATURE TO BE DISTINGUISHED FROM THOSE OF FASHION.

GENTLEMEN,

Ir is not easy to speak with propriety to so many Students of different ages and different degrees of advancement. The mind requires nourishment adapted to its growth; and what may have promoted our earlier efforts might retard us in our nearer approaches to perfection.

The first endeavours of a young Painter, as I have remarked in a former discourse, must be employed in the attainment of mechanical dexterity, and confined to the mere imitation of the object before him. Those who have advanced beyond the rudiments, may, perhaps, find advantage in reflecting on the advice which I have likewise given them, when I recommended the diligent study of the works of our great predecessors; but I at the same time endeavoured to guard them against an implicit submission to the authority of any one master however excellent, or, by a strict imitation of his manner, precluding themselves from the abundance and variety of Nature. I will now add, that Nature herself is not to be too closely copied. There are excellences in the art of painting beyond what is commonly called the imitation of Nature; and these