on which some persons appear to place so great dependence, is, in reality, at the bottom, a love of idleness, a want of sufficient energy to put themselves into immediate action: it is a sort of an apology to themselves for doing nothing. I have known artists who may truly be said to have spent their whole lives, or at least the most precious part of their lives, in planning methods of study, without ever beginning; resolving, however, to put it all in practice at some time or other, when a certain period arrives, when proper conveniences are procured, - or when they remove to a certain place better calculated for study. It is not uncommon for such persons to go abroad with the most honest and sincere resolution of studying hard, when they shall arrive at the end of their journey. The same want of exertion, arising from the same cause which made them at home put off the day of labour until they had found a proper scheme for it, still continues in Italy, and they consequently return home with little, if any, improvement.

In the practice of art, as well as in morals, it is necessary to keep a watchful and jealous eye over ourselves; idleness, assuming the specious disguise of industry, will lull to sleep all suspicion of our want of an active exertion of strength. A provision of endless apparatus, a bustle of infinite inquiry and research, or even the mere mechanical labour of copying, may be employed, to evade and shuffle off real labour, the real labour of thinking.

I have declined for these reasons to point out any particular method and course of study to young Artists on their arrival in Italy. I have left it to their own prudence, a prudence which will grow and improve upon them in the course of unremitted, ardent industry, directed by a real love of their profession, and an unfeigned admiration of those who have been universally admitted as patterns of excellence in the art.

In the exercise of that general prudence, I shall here submit to their consideration such

miscellaneous observations as have occurred to me on considering the mistaken notions or evil habits, which have prevented that progress towards excellence, which the natural abilities of several Artists might otherwise have enabled them to make.

False opinions and vicious habits have done far more mischief to students, and to Professors too, than any wrong methods of study.

Such

Under the influence of sloth, or of some mistaken notion, is that disposition which always wants to lean on other men. Students are always talking of the prodigious progress they should make, if they could but have the advantage of being taught by some particular eminent Master. To him they would wish to transfer that care, which they ought and must take of themselves. Such are to be told, that after the rudiments are past, very little of our Art can be taught by others. The most skilful Master can do little more than put the end of the clue into the hands of his Scholar, by which he must conduct himself.

It is true, the beauties and defects of the works of our predecessors may be pointed out; the principles on which their works are conducted may be explained; the great examples of Ancient Art may be spread out before them; but the most sumptuous entertainment is prepared in vain, if the guests will not take the trouble of helping themselves.

Even the Academy itself, where every convenience for study is procured, and laid before them, may, from that very circumstance, from leaving no difficulties to be encountered in the pursuit, cause a remission of their industry. It is not uncommon to see young artists, whilst they are struggling with every obstacle in their way, exert themselves with such success as to outstrip competitors possessed of every means of improvement. The promising expectation which was formed, on so much being done with so little means, has recommended them to a Patron, who has supplied them with every convenience of study; from that time their industry and eagerness of pursuit has forsaken them;

they stand still, and see others rush on before them.

Such men are like certain animals, who will feed only when there is but little provender, and that got at with difficulty through the bars of a rack, but refuse to touch it when there is an abundance before them.

Perhaps, such a falling off may proceed from the faculties being overpowered by the immensity of the materials; as the traveller despairs ever to arrive at the end of his journey, when the whole extent of the road which he is to pass is at once displayed to his view.

Among the first moral qualities, therefore, which a Student ought to cultivate, is a just and manly confidence in himself, or rather in the effects of that persevering industry which he is resolved to possess.

When Raffaelle, by means of is connection with Bramante, the Pope's Architect, was fixed upon to adorn the Vatican