again, that labour is the only price of solid fame, and that whatever their force of genius may be, there is no easy method of becoming a good Painter.

When we read the lives of the most eminent Painters, every page informs us that no part of their time was spent in dissipation. Even an increase of fame served only to augment their industry. To be convinced with what persevering assiduity they pursued their studies, we need only reflect on their method of proceeding in their most celebrated works. When they conceived a subject, they first made a variety of sketches; then a finished drawing of the whole e; after that a more correct drawing of every separate part-heads, hands, feet, and pieces of drapery; they then painted the picture, and after all, retouched it from the life. The pictures, thus wrought with such pains, now appear like the effect of enchantment, and as if some mighty genius had struck them off at a blow.

But, whilst diligence is thus recommended to the Students, the Visitors will take care that their diligence be effectual; that it be well directed, and employed on the proper object. A Student is not always advancing because he is employed; he must apply his strength to that part of the art where the real difficulties lie; to that part which distinguishes it as a liberal art; and not by mistaken industry lose his time in that which is merely ornamental. The Students, instead of vying with each other which shall have the readiest hand, should be taught to contend who shall have the purest and most correct outline; instead of striving which shall produce the brightest tint, or curiously trifling, shall give the gloss of stuffs, so as to appear real, let their ambition be directed to contend which shall dispose his drapery in the most graceful folds, which shall give the most grace and dignity to the human figure.

I must beg leave to submit one thing more to the consideration of the Visitors, which appears to me a matter of very great consequence, and the omission of which I think a principal defect in the method of education pursued in all the Academies I have ever visited The error I mean is, that the Students never draw exactly from the living models which they have before them. It is not, indeed, their intention, nor are they directed to do it. Their drawings resemble the model only in the attitude. They change the form according to their vague and uncertain ideas of beauty, and make a drawing rather of what they think the figure ought to be, than of what it appears. I have thought this the obstacle that has stopped the progress of many young men of real genius; and I very much doubt whether a habit of drawing correctly what we see will not give a proportionable power of drawing correctly what we imagine. He who endeavours to copy nicely the figure before him, not only acquires a habit of exactness and precision, but is continually advancing in his knowledge of the human figure; and though he seems to superficial observers to make a slower progress, he will be found at last capable of adding (without running into capricious wildness) that and beauty which is necessary to be given to his more finished works, and which cannot be got by the moderns, as it was not acquired by the ancients, but by an attentive and well-compared study of the human form.

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What I think ought to enforce this method is, that it has been the practice (as may be seen by their drawings) of the great Masters in the Art. I will mention a drawing of Raffaelle, The Dispute of the Sacrament, the print of which, by Count Cailus, is in every hand. It appears that he made his sketch from one model; and the habit he had of drawing exactly from the form before him appears by his

making all the figures with the same cap, such as his model then happened to wear; so servile a copyist was this great man, even at a time when he was allowed to be at his highest pitch of excellence.

I have seen also Academy figures by Annibale Caracci, though he was often sufficiently licentious in his finished. works, drawn with all the peculiarities of an individual model.

This scrupulous exactness is so contrary to the practice of the Academies, that it is not without great deference that I beg leave to recommend it to the consideration of the Visitors; and submit to them, whether the neglect of this method is not one of the reasons why Students so often disappoint expectation, and, being more than boys at sixteen, become less than men at thirty.

In short, the method I recommend can only be detrimental where there are but few living forms to copy; for then Students, by always drawing from one alone, will by habit be taught to overlook defects, and mistake deformity for beauty. But of this there is no danger, since the Council has determined to supply the Academy with a variety of subjects; and indeed those laws which they have drawn up, and which the Secretary will presently read for your confirmation, have in some measure precluded me from saying more upon this occasion. Instead, therefore, of offering my advice, permit me to indulge my wishes, and express my hope, that this Institution may answer the expectation of its ROYAL FOUNDER; that the present age may vie in Arts with that of LEO the Tenth; and that the dignity of the dying Art (to make use of an expression of Pliny) may be revived under the Reign of GEORGE THE THIRD.

DISCOURSE II.

Delivered o the Students of the Royal Academy, on the Distribution of the Prizes, December 11, 1769.

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.

I CONGRATULATE you on the honour which you have just received. I have the highest opinion of your merits, and could wish to show my sense of them in something which possibly may be more useful to you than barren praise. I could wish to lead you into such a course of study as may render your future progress answerable to your past improvement; and, whilst I applaud you for what has been done, remind you how much yet remains to attain perfection.

I flatter myself that from the long experience I have had, and the unceasing assiduity with which I have pursued those studies, in which, like you, I have been engaged, I shall be acquitted of vanity in offering some hints to your consideration. They are, indeed, in a great degree, founded upon my own mistakes in the same pursuit. But the history of errors, properly managed, often shortens the road to truth. And although no method of study that I can offer will of itself conduct to excellence, yet it may preserve industry from being misapplied.

In speaking to you of the Theory of the Art, I shall only consider it as it has a relation to the method of your studies.

Dividing the study of painting into three distinct periods, I shall address you as having passed through the first of them, which is confined to the rudiments; including a facility of drawing any object that presents itself, a tolerable readiness in the management of colours, and an acquaintance with the most simple and obvious rules of composition.

This first degree of proficiency is, in painting, what grammar is in literature, a general preparation for whatever species of the art the student may afterwards choose for his more particular application. The power of drawing, modelling, and using colours is very properly called the Language of the Art; and in this language, the honours you have just received prove you to have made no inconsiderable progress.

When the Artist is once enabled to express himself with some degree of correctness, he must then endeavour to collect subjects for expression; to amass a stock of ideas, to be combined and varied as occasion may require. He is now in the second period of study, in which his business is to learn all that has been known and done before his own time. Having hitherto received instructions from a particular master, he is now to consider the Art itself as his master. He must extend his capacity to more sublime and general instructions. Those perfections which lie scattered among various masters are now united in one general idea, which is henceforth to regulate his taste, and enlarge his imagination. With a variety of models thus before him, he will avoid that narrowness and poverty of conception which attends a bigoted admiration of a single master, and will cease to follow any favourite where he ceases to excel. This period is, however, still a time of subjection and discipline. Though the Student will not resign himself blindly to any single authority, when he may have the

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