seven discourses on art(艺术七讲座)-第2章
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afford a sufficient proof of the impossibility of succeeding but by the
influence of Majesty。 But there have； perhaps； been times when even the
influence of Majesty would have been ineffectual； and it is pleasing to
reflect that we are thus embodied； when every circumstance seems to
concur from which honour and prosperity can probably arise。
There are at this time a greater number of excellent artists than were
ever known before at one period in this nation； there is a general desire
among our nobility to be distinguished as lovers and judges of the arts；
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there is a greater superfluity of wealth among the people to reward the
professors； and； above all； we are patronised by a monarch； who； knowing
the value of science and of elegance； thinks every art worthy of his notice
that tends to soften and humanise the mind。
After so much has been done by his Majesty； it will be wholly our fault
if our progress is not in some degree correspondent to the wisdom and；
generosity of the institution； let us show our gratitude in our diligence； that；
though our merit may not answer his expectations； yet； at least； our
industry may deserve his protection。
But whatever may be our proportion of success； of this we may be sure；
that the present institution will at least contribute to advance our
knowledge of the arts； and bring us nearer to that ideal excellence which it
is the lot of genius always to contemplate and never to attain。
The principal advantage of an academy is； that； besides furnishing able
men to direct the student； it will be a repository for the great examples of
the art。 These are the materials on which genius is to work； and without
which the strongest intellect may be fruitlessly or deviously employed。
By studying these authentic models； that idea of excellence which is the
result of the accumulated experience of past ages may be at once acquired；
and the tardy and obstructed progress of our predecessors may teach us a
shorter and easier way。 The student receives at one glance the principles
which many artists have spent their whole lives in ascertaining； and；
satisfied with their effect； is spared the painful investigation by which they
come to be known and fixed。 How many men of great natural abilities
have been lost to this nation for want of these advantages？ They never
had an opportunity of seeing those masterly efforts of genius which at
once kindle the whole soul； and force it into sudden and irresistible
approbation。
Raffaelle； it is true； had not the advantage of studying in an academy；
but all Rome； and the works of Michael Angelo in particular； were to him
an academy。 On the site of the Capel la Sistina he immediately from a
dry； Gothic； and even insipid manner； which attends to the minute
accidental discriminations of particular and individual objects； assumed
that grand style of painting； which improves partial representation by the
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general and invariable ideas of nature。
Every seminary of learning may be said to be surrounded with an
atmosphere of floating knowledge； where every mind may imbibe
somewhat congenial to its own original conceptions。 Knowledge； thus
obtained； has always something more popular and useful than that which
is forced upon the mind by private precepts or solitary meditation。
Besides； it is generally found that a youth more easily receives instruction
from the companions of his studies； whose minds are nearly on a level
with his own； than from those who are much his superiors； and it is from
his equals only that he catches the fire of emulation。
One advantage； I will venture to affirm； we shall have in our academy；
which no other nation can boast。 We shall have nothing to unlearn。 To
this praise the present race of artists have a just claim。 As far as they
have yet proceeded they are right。 With us the exertions of genius will
henceforward be directed to their proper objects。 It will not be as it has
been in other schools； where he that travelled fastest only wandered
farthest from the right way。
Impressed as I am； therefore； with such a favourable opinion of my
associates in this undertaking； it would ill become me to dictate to any of
them。 But as these institutions have so often failed in other nations； and
as it is natural to think with regret how much might have been done； and
how little has been done； I must take leave to offer a few hints； by which
those errors may be rectified； and those defects supplied。 These the
professors and visitors may reject or adopt as they shall think proper。
I would chiefly recommend that an implicit obedience to the rules of
art； as established by the great masters； should be exacted from the
YOUNG students。 That those models； which have passed through the
approbation of ages； should be considered by them as perfect and infallible
guides as subjects for their imitation； not their criticism。
I am confident that this is the only efficacious method of making a
progress in the arts； and that he who sets out with doubting will find life
finished before he becomes master of the rudiments。 For it may be laid
down as a maxim； that he who begins by presuming on his own sense has
ended his studies as soon as he has commenced them。 Every opportunity；
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therefore； should be taken to discountenance that false and vulgar opinion
that rules are the fetters of genius。 They are fetters only to men of no
genius； as that armour； which upon the strong becomes an ornament and a
defence； upon the weak and misshapen turns into a load； and cripples the
body which it was made to protect。
How much liberty may be taken to break through those rules； and； as
the poet expresses it；
〃To snatch a grace beyond the reach of art；〃
may be an after consideration； when the pupils become masters
themselves。 It is then； when their genius has received its utmost
improvement； that rules may possibly be dispensed with。 But let us not
destroy the scaffold until we have raised the building。
The directors ought more particularly to watch over the genius of those
students who； being more advanced； are arrived at that critical period of
study； on the nice management of which their future turn of taste depends。
At that age it is natural for them to be more captivated with what is
brilliant than with what is solid； and to prefer splendid negligence to
painful and humiliating exactness。
A facility in composing； a lively； and what is called a masterly
handling the chalk or pencil； are； it must be confessed； captivating
qualities to young minds； and become of course the objects of their
ambition。 They endeavour to imitate those dazzling excellences； which
they will find no great labour in attaining。 After much time spent in these
frivolous pursuits； the difficulty will be to retreat； but it will be then too
late； and there is scarce an instance of return to scrupulous labour after the
mind has been debauched and deceived by this fallacious mastery。
By this useless industry they are excluded from all power of advancing
in real excellence。 Whilst boys； they are arrived at their utmost
perfection； they have taken the shadow for the substance； and make that
mechanical facility the chief excellence of the art； which is only an
ornament； and of the merit of which few but painters themselves are
judges。
This seems to me to be one of the most dangerous sources of
corruption； and I speak of it from experience； not as an error which may
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possibly happen； but which has actually infected all foreign academies。
The directors were probably pleased with this premature dexterity in their
pupils； and praised their despatch at the expense of their correctness。
But young men have not only this frivolous ambition of being thought
masterly inciting them on one hand； but also their natural sloth tempting
them on the other。 They are terrified at the prospect before them； of the
toil required to attain exactness。 The impetuosity of youth is distrusted at
the slow approaches of a regular siege； and desires； from mere impatience
of labour； to take the citadel by storm。 They wish to find some shorter
path to excellence； and hope to obtain the reward of eminence by other
means than those which the indispensable rules of art have prescribed。
They must； therefore； be told again and 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； after that a more correct drawing of every
separate part； heads； hands； feet； and pieces o
