IF the work which I have ventured to dedicate to the members of the Royal Academy had no other claim to your patronage and encouragement than the merit displayed by its author, I should not have considered it sufficiently entitled to the distinction which I have aspired to. But a work which professes to treat chiefly on Art may not be unacceptable to artists; and the Life of Sir Joshua Reynolds may be dedicated, with some appearance of propriety, to those who hold the first rank in that school of Art which has been founded on his practice and his principles.

The advantages proceeding from the institution of a Royal

Academy.- Hints offered to the consideration of the

Professors and visiters.-That an implicit obedience to

the rules of Art be exacted from the young students.—

That a premature disposition to a masterly dexterity be

repressed. That diligence be constantly recommended,

and (that it may be effectual) directed to its proper object. 305

DISCOURSE II.

The course and order of study.-The different stages of Art.

-Much copying discountenanced.—The Artist at all times

and in all places should be employed in laying up materials

for the exercise of his Art.......

DISCOURSE III.

The great leading principles of the grand style.-Of beauty.

-The genuine habits of nature to be distinguished from

those of fashion .....

DISCOURSE IV.

314

329

General ideas the presiding principle which regulates every

part of Art; Invention, Expression, Colouring, and Dra-

pery. Two distinct styles in history-painting; the grand

and the ornamental.-The schools in which each is to be

found. The composite style. The style formed on

local customs and habits, or a partial view of nature.... 344

-

-

style.

DISCOURSE V.

Circumspection required in endeavouring to unite contrary

excellencies.—The expression of a mixed passion not to be

attempted.-Examples of those who excelled in the great

Raffaelle, Michel Angelo, those two extraordi-

nary men compared with each other.-The characteristical

style.—Salvator Rosa mentioned as an example of that

style; and opposed to Carlo Maratti.-Sketch of the cha-

racters of Poussin and Rubens.-These two Painters

entirely dissimilar, but consistent with themselves.-This

consistency required in all parts of the Art.

DISCOURSE VI.

Page

364

Imitation.-Genius begins where rules end. - Invention:

acquired by being conversant with the inventions of others.

-The true method of imitating.-Borrowing, how far

allowable.-Something to be gathered from every school. 381

DISCOURSE VII.

The reality of a standard of taste as well as of corporal

beauty. Beside this immutable truth, there are secondary

truths, which are variable; both requiring the attention of

the Artist, in proportion to their stability or their influence. 406

DISCOURSE VIII.

The principles of Art, whether Poetry or Painting, have their

foundation in the mind; such as novelty, variety, and

contrast; these in their excess become defects.-Sim-

plicity, its excess disagreeable.-Rules not to be always

observed in their literal sense; sufficient to preserve the

spirit of the law.-Observations on the Prize Pictures.. 438