the sight never beheld it, nor has the hand expressed it: it is an idea residing in the breast of the artist, which he is always labouring to impart, and which he dies at last without imparting; but which he is yet so far able to communicate, as to raise the thoughts, and extend the views of the spectator; and which, by a succession of art, may be so far diffused, that its effects may extend themselves imperceptibly into publick benefits, and be among the means of bestowing on whole nations refinement of taste: which, if it does not lead directly to purity of manners, obviates at least their greatest depravation, by disentangling the mind from appetite, and conducting the thoughts through successive stages of excellence, till that contemplation of universal rectitude and harmony which began by Taste, may, as it is exalted and refined, conclude in Virtue.

སྙ་

DISCOURSE X.

DELIVERED TO THE STUDENTS OF

THE ROYAL ACADEMY,

ON THE

DISTRIBUTION OF THE PRIZES,

DECEMBER 11. 1780.

THE MODERN SCULPTORS TO IMPROVE THE ART. ILL EFFECTS OF MODERN DRESS IN SCULPTURE.

GENTLEMEN,

I SHALL now, as it has been customary on this day, and on this occasion, communicate to you such observations as have occurred to me on the Theory of Art.

If these observations have hitherto referred principally to Painting, let it be remembered that this Art is much more extensive and complicated than Sculpture, and affords therefore a more ample field for criticism; and as the greater includes the less, the leading principles of Sculpture are comprised in those of Painting.

However, I wish now to make some remarks with particular relation to Sculp

ture; to consider wherein, or in what manner, its principles and those of Painting agree or differ; what is within its power of performing, and what it is vain or improper to attempt; that it may be clearly and distinctly known what ought to be the great purpose of the Sculptor's labours.

Sculpture is an art of much more simplicity and uniformity than painting; it cannot with propriety, and the best effect, be applied to many subjects. The object of its pursuit may be comprised in two words, Form and Character; and those qualities are presented to us but in one manner, or in one style only; whereas the powers of Painting, as they are more various and extensive, so they are exhibited in as great a variety of manners. The Roman, Lombard, Florentine, Venetian, and Flemish Schools, all pursue the same end by different means. But Sculpture having but one style, can only to one style of Painting have any relation; and to this (which is indeed the highest and most dignified that Painting can boast), it has a relation so close,