66 arrogance or assumption visible to the most scrutinizing eye, in any part of his con"duct or discourse. "His talents of every kind, powerful "from nature, and not meanly cultivated by "letters, his social virtues in all the relations "and all the habitudes of life, rendered him "the centre of a very great and unparalleled 66 variety of agreeable societies, which will "be dissipated by his death. He had too "much merit not to excite some jealousy, "too much innocence to provoke any enmity. "The loss of no man of his time can be felt "with more sincere, general, and unmixed 66 sorrow, "HAIL! AND FAREWELL!" FOLEY-PLACE, March 8, 180g. [First published in 1797.] 1 CONTENTS The advantages proceeding from the institution of a Royal Academy.-Hints offered to the consideration of the Professors and Visitors ;-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 The course and order of study.-The different stages of Art.-Much copying discountenanced.-The Artist DISCOURSE IV. General Ideas, the presiding principle which regulates every part of Art; Invention, Expression, Colouring and Drapery: 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..... p. 79 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 Style; Raffaelle, Michael Angelo. Those two extraordinary 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 characters of Poussin and Rubens. These two Painters entirely dissimilar, but consistent with themselves. This consistency required in all parts of the Art. DISCOURSE VI. P. 315 Imitation.-Genius begins where Rules end.-Invention; acquired by being conversant with the inven tions of others.-The true method of imitating.Borrowing, how far allowable.-Something to be gathered from every School............ p. 145 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; bothrequiring the attention of the Artist, in proportion to their stability or their influence. . . . . DISCOURSE VIII. p. 189 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.-Simplicity. 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..................... .P. 245 |