EDITED BY ERNEST RHYS.

REYNOLDS' DISCOURSES.

HARVARD

COLLEGE

JUL 19 1932

LIBRARY

CONTENTS.

DISCOURSE I.

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 dex-

terity be repressed.-That diligence be constantly recommended,

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

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.

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

genuine habits of nature to be distinguished from those of fashion 25

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

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nature

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,

Michel 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 con-

sistency required in all parts of the Art

DISCOURSE VI.

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

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