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Character of Gainsborough :- His excellencies and
In the study of our art, as in the study of all arts, something is the result of our own observation of Nature; something, and that not little, the effect of the example of those who have studied the same nature before us, and who have cultivated before us the same art, with diligence and success. The less we confine ourselves in the choice of those examples, the more advantage we shall derive from them; and the nearer we shall bring our performances to a correspondence with nature and the great general rules of art. When we draw our examples from remote and revered antiquity,-with some advantage undoubtedly in that selection we subject ourselves to some inconveniences. We may suffer ourselves to be too much led away by great names, and to be too much subdued by overbearing authority. Our learning, in that case, is not so much an exercise of our judgment, as a proof of our docility. We find ourselves, perhaps, too much overshadowed; and the character of our pursuits is rather distinguished by the tameness of the follower than animated by the spirit of emulation, It is sometimes of service that our examples should be near us; and such as raise a reverence, sufficient to induce us carefully to observe them, yet not so great as to prevent us from engaging with them in something like a generous contention.
We have lately lost Mr. Gainsborough, one of the greatest ornaments of our Academy. It is not our business here to make panegyrics on the living, or even on the dead who were of our body. The praise of the former might bear appearance of adulation : and the latter, of untimely justice; perhaps of envy to those whom we have still the happiness to enjoy, by an oblique suggestion of invidious comparisons. In discoursing therefore on the talents of the late Mr. Gainsborough, my object is, not so much to praise or to blame him, as to draw from his excellencies and defects, matter of instruction to the students in our Academy. If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English school, the name of Gainsborough will be transmitted to posterity in the history of the art, among the very first of that rising name. That our reputation in the arts is now only rising, must be acknowledged ; and we must expect our advances to be attended with old prejudices, as adversaries, and not as supporters : standing in this respect in a very different situation from the late artists of the Roman school, to whose reputation ancient prejudices have certainly contributed: the way was prepared for them, and they may be said rather to have lived in the reputation of their country, than to have contributed to it; whilst whatever celebrity is obtained by English artists, can arise only from the operation of a fair and true comparison. And when they communicate to their country a share of their reputation, it is a portion of fame not borrowed from others, but solely acquired by their own labour and talents. As Italy has undoubtedly a prescriptive right to an administration bordering on prejudice, as a soil peculiarly adapted, congenial, and, we may add, destined to the production of men of great genius in our art, we may not unreasonably suspect that a portion of the great fame of some of their late artists has been owing to the general readiness and disposition of mankind, to acquiesce in their original prepossessions in favour of the productions of the Roman school.
On this ground, however unsafe, I will venture to prophesy, that two of the last distinguished painters of that country, I mean Pompeio Battoni and Raffaelle Mengs, however great their names may at present sound in our ears, will very soon fall into the rank of Imperiale, Sebastian Concha, Placido
Constanza, Masaccio, and the rest of their immediate predecessors; whose names, though equally renowned in their life-time, are now fallen into what is little short of total oblivion. I do not say that those painters were not superior to the artist I allude to, and whose loss we lament, in a certain routine of practice, which, to the eyes of common observers, has the air of a learned composition, and bears a sort of superficial resemblance to the manner of the great men who went before them. I know this perfectly well: but I know likewise, that a man, looking for real and lasting reputation, must unlearn much of the common-place method so observable in the works of the artists whom I have named. For my own part, I confess, I take more interest in, and am more captivated with the powerful impression of nature, which Gainsborough exhibited in his portraits and in his landscapes, and the interesting simplicity and elegance of his little ordinary beggar-children, than with any of the works of that school, since the time of Andrea Sacchi, or perhaps we may say Carlo Maratti; two painters who may truly be said to be ULTIMI ROMANORUM.
I am well aware how much I lay myself open to the censure and ridicule of the academical professors of other nations, in preferring the humble attempts of Gainsborough to the works of those regular graduates in the great historical style. But we have the sanction of all mankind in preferring genius in