Seven Discourses on Art | Page 3

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;
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 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