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superior to what is to be found in individual nature。 They are ever
referring to the practice of the painters and sculptors of their times；
particularly Phidias （the favourite artist of antiquity）； to illustrate their
assertions。 As if they could not sufficiently express their admiration of
his genius by what they knew； they have recourse to poetical enthusiasm。
They call it inspiration； a gift from heaven。 The artist is supposed to
have ascended the celestial regions； to furnish his mind with this perfect
idea of beauty。 〃He；〃 says Proclus； 〃who takes for his model such forms as
nature produces； and confines himself to an exact imitation of them； will
never attain to what is perfectly beautiful。 For the works of nature are
full of disproportion； and fall very short of the true standard of beauty。
So that Phidias； when he formed his Jupiter； did not copy any object ever
presents to his sight； but contemplated only that image which he had
conceived in his mind from Homer's description。〃 And thus Cicero；
speaking of the same Phidias： 〃Neither did this artist；〃 says he； 〃when he
carved the image of Jupiter or Minerva； set before him any one human
figure as a pattern； which he was to copy； but having a more perfect idea
of beauty fixed in his mind； this he steadily contemplated； and to the
imitation of this all his skill and labour were directed。
The moderns are not less convinced than the ancients of this superior
power existing in the art； nor less conscious of its effects。 Every
language has adopted terms expressive of this excellence。 The Gusto
grande of the Italians； the Beau ideal of the French and the GREAT
STYLE； GENIUS； and TASTE among the English； are but different
appellations of the same thing。 It is this intellectual dignity； they say； that
ennobles the painter's art； that lays the line between him and the mere
mechanic； and produces those great effects in an instant； which eloquence
and poetry； by slow and repeated efforts； are scarcely able to attain。
Such is the warmth with which both the ancients and moderns speak of
this divine principle of the art； but； as I have formerly observed；
enthusiastic admiration seldom promotes knowledge。 Though a student by
such praise may have his attention roused； and a desire excited； of running
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SEVEN DISCOURSES ON ART
in this great career； yet it is possible that what has been said to excite； may
only serve to deter him。 He examines his own mind； and perceives there
nothing of that divine inspiration with which he is told so many others
have been favoured。 He never travelled to heaven to gather new ideas；
and he finds himself possessed of no other qualifications than what mere
common observation and a plain understanding can confer。 Thus he
becomes gloomy amidst the splendour of figurative declamation； and
thinks it hopeless to pursue an object which he supposes out of the reach
of human industry。
But on this； as upon many other occasions； we ought to distinguish
how much is to be given to enthusiasm； and how much to reason。 We
ought to allow for； and we ought to commend； that strength of vivid
expression which is necessary to convey； in its full force； the highest sense
of the most complete effect of art； taking care at the same time not to lose
in terms of vague admiration that solidity and truth of principle upon
which alone we can reason； and may be enabled to practise。
It is not easy to define in what this great style consists； nor to describe；
by words； the proper means of acquiring it； if the mind of the student
should be at all capable of such an acquisition。 Could we teach taste or
genius by rules； they would be no longer taste and genius。 But though
there neither are； nor can be； any precise invariable rules for the exercise
or the acquisition of those great qualities； yet we may as truly say that they
always operate in proportion to our attention in observing the works of
nature； to our skill in selecting； and to our care in digesting； methodising；
and comparing our observations。 There are many beauties in our art； that
seem； at first； to lie without the reach of precept； and yet may easily be
reduced to practical principles。 Experience is all in all； but it is not every
one who profits by experience； and most people err； not so much from
want of capacity to find their object； as from not knowing what object to
pursue。 This great ideal perfection and beauty are not to be sought in the
heavens； but upon the earth。 They are about us； and upon every side of
us。 But the power of discovering what is deformed in nature； or in other
words； what is particular and uncommon； can be acquired only by
experience； and the whole beauty and grandeur of the art consists； in my
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SEVEN DISCOURSES ON ART
opinion； in being able to get above all singular forms； local customs；
particularities； and details of every kind。
All the objects which are exhibited to our view by nature； upon close
examination will be found to have their blemishes and defects。 The most
beautiful forms have something about them like weakness； minuteness； or
imperfection。 But it is not every eye that perceives these blemishes。 It
must be an eye long used to the contemplation and comparison of these
forms； and which； by a long habit of observing what any set of objects of
the same kind have in common； that alone can acquire the power of
discerning what each wants in particular。 This long laborious
comparison should be the first study of the painter who aims at the
greatest style。 By this means； he acquires a just idea of beautiful forms；
he corrects nature by herself； her imperfect state by her more perfect。
His eye being enabled to distinguish the accidental deficie