extempore, which he practised when a boy in his character of an improvvisatore, might not be considered as a happy beginning of his education? He thought it, on the contrary, a disadvantage to him : he said that he had acquired by that habit a carelessness and incorrectness, which it cost him much trouble to overcome, and to substitute in the place of it a totally different habit, that of thinking with selection, and of expressing himself with correctness and precision.

However extraordinary it may appear, it is certainly true, that the inventions of the pittori improvvisatori, as they may be called, have,-notwithstanding the common boast of their authors that all is spun from their own brain,-very rarely any thing that has in the least the air of originality:their compositions are generally common-place, uninteresting, without character or expression; like those flowery speeches that we sometimes hear, which impress no new ideas on the mind.

I would not be thought, however, by what has been said, to oppose the use, the advantage, the necessity there is, of a painter being readily able to express his ideas by sketching. The further he can carry such designs, the better. The evil to be apprehended is, his resting there, and not correcting them afterwards from nature, or taking the trouble to look about him for whatever assistance the works of others will afford him.

We are not to suppose, that when a painter sits

down to deliberate on any work, he has all his knowledge to seek; he must not only be able to draw extempore the human figure in every variety of action, but he must be acquainted likewise with the general principles of composition, and possess a habit of foreseeing, while he is composing, the effect of the masses of light and shadow that will attend such a disposition. His mind is entirely occupied by his attention to the whole. It is a subsequent consideration to determine the attitude and expression of individual figures. It is in this period of his work that I would recommend to every artist to look over his port-folio, or pocketbook, in which he has treasured up all the happy inventions, all the extraordinary and expressive attitudes, that he has met with in the course of his studies; not only for the sake of borrowing from those studies whatever may be applicable to his own work, but likewise on account of the great advantage he will receive by bringing the ideas of great artists more distinctly before his mind, which will teach him to invent other figures in a similar style.

Sir Francis Bacon speaks with approbation of the provisionary methods Demosthenes and Cicero employed to assist their invention: and illustrates their use by a quaint comparison after his manner.

These particular studios being not immediately connected with our art, I need not cite the passage I allude to, and shall only observe, that such preparation totally opposes the general received opi

nions that are floating in the world, concerning genius and inspiration. The same great man in another place, speaking of his own Essays, remarks that they treat of "those things, wherein both "men's lives and persons are most conversant, "whereof a man shall find much in experience, "but little in books :" they are then what an artist would naturally call invention; and yet we may suspect that even the genius of Bacon, great as it was, would never have been enabled to have made those observations, if his mind had not been trained and disciplined by reading the observations of others. Nor could he, without such reading, have known that those opinions were not to be found in other books.

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I know there are many artists of great fame who appear never to have looked out of themselves, and who probably would think it derogatory to their character, to be supposed to borrow from any other painter. But when we recollect, and compare the works of such men with those who took to their assistance the inventions of others, we shall be convinced of the great advantage of this latter practice.

The two men most eminent for readiness of invention, that occur to me, are Luca Giordano, and La Fage; one in painting, and the other in drawing.

To such extraordinary powers as were possessed by both of those artists, we cannot refuse the character of genius; at the same time it must be acknowledged, that it was that kind of mecha

nic genius which operates without much assistance of the head. In all their works, which are (as might be expected) very numerous, we may look in vain for any thing that can be said to be original and striking; and yet, according to the ordinary ideas of originality, they have as good pretensions as most painters; for they borrowed very little from others, and still less will any artist, that can distinguish between excellence and insipidity, ever borrow from them.

To those men, and all such, let us oppose the practice of the first of painters. I suppose we shall all agree, that no man ever possessed a greater power of invention, and stood less in need of foreign assistance, than Raffaelle; and yet, when he was designing one of his greatest, as well as latest works, the Cartoons, it is very apparent that he had the studies, which he had made from Masaccio, before him.

Two noble figures of St. Paul, which he found there, he adopted in his own work: one of them he took for St. Paul preaching at Athens; and the other for the same saint, when chastising the sorcerer Elymas. Another figure in the same work, whose head is sunk in his breast, with his eyes shut, appearing deeply wrapt up in thought, was introduced amongst the listeners to the preaching of Saint Paul. The most material alteration that is made in those two figures of St. Paul, is the addition of the left hands, which are not seen in

the original. It is a rule that Raffaelle observed (and indeed ought never to be dispensed with), in a principal figure, to show both hands; that it should never be a question, what is become of the other hand. For the Sacrifice at Listra, he took the whole ceremony, much as it stands in an ancient basso-relievo, since published in the ADMIRANDA.

I have given examples from those pictures only of Raffaelle which we have among us, though many other instances might be produced of this great painter not disdaining assistance: indeed, his known wealth was so great, that he might borrow where he pleased without loss of credit.

It may be remarked, that this work of Masaccio, from which he has borrowed so freely, was a public work, and at no farther distance from Rome, than Florence; so that if he had considered it a disgraceful theft, he was sure to be detected; but he was well satisfied that his character for invention would be little affected by such a discovery; nor is it, except in the opinion of those who are ignorant of the manner in which great works are built.

Those who steal from mere poverty; who, having nothing of their own, cannot exist a minute without making such depredations; who are so poor that they have no place in which they can even deposit what they have taken; to men of this description nothing can be said; but such artists as those to whom I suppose myself now speaking, men whom