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the drapery, must be sparingly employed. In short, whatever partakes of fancy or caprice, or goes under the denomination of picturesque, (however to be admired in its proper place,) is incompatible with that sobriety and gravity which is peculiarly the characteristic of this art.

There is no circumstance which more distinguishes a well-regulated and sound taste, than a settled uniformity of design, where all the parts are compact, and fitted to each other, every thing being of a piece. This principle extends itself to all habits of life, as well as to all works of art. Upon this general ground therefore we may safely venture to pronounce, that the uniformity and simplicity of the materials on which the sculptor labours, (which are only white marble,) prescribes bounds to his art, and teaches him to confine himself to a proportionable simplicity of design.

DISCOURSE XI.

DELIVERED TO THE STUDENTS OF

THE ROYAL ACADEMY,

ON THE

DISTRIBUTION OF THE PRIZES,

DECEMBER 10, 1782.

DISCOURSE XI.

Genius.-Consists principally in the comprehension of a whole; in taking general ideas only.

GENTLEMEN,

THE highest ambition of every artist is to be thought a man of genius. As long as this flattering quality is joined to his name, he can bear with patience the imputation of carelessness, incorrectness, or defects of whatever kind.

So far indeed is the presence of genius from implying an absence of faults, that they are considered by many as its inseparable companions. Some go such lengths as to take indication from them, and not only excuse faults on account of genius, but presume genius from the existence of certain faults.

It is certainly true, that a work may justly claim the character of genius, though full of errors; and it is equally true, that it may be faultless, and

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yet not exhibit the least spark of genius. This naturally suggests an inquiry, a desire at least of inquiring, what qualities of a work and of a workman may justly entitle a Painter to that character.

I have in a former discourse* endeavoured to impress you with a fixed opinion, that a comprehensive and critical knowledge of the works of nature is the only source of beauty and grandeur. But when we speak to painters, we must always consider this rule, and all rules, with a reference to the mechanical practice of their own particular art. It is not properly in the learning, the taste, and the dignity of the ideas, that genius appears as belonging to a painter. There is a genius particular and appropriated to his own trade (as I may call it), distinguished from all others. For that power, which enables the artist to conceive his subject with dignity, may be said to belong to general education; and is as much the genius of a poet, or the professor of any other liberal art, or even a good critic in any of those arts, as of a painter. Whatever sublime ideas may fill his mind, he is a painter only as he can put in practice what he knows, and communicate those ideas by visible representation.

If my expression can convey my idea, I wish to distinguish excellence of this kind, by calling it the genius of mechanical performance. This genius

*Discourse III.

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