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His eye being enabled to distinguish the accidental deficiencies；
excrescences； and deformities of things from their general figures； he
makes out an abstract idea of their forms more perfect than any one
original； and what may seem a paradox； he learns to design naturally by
drawing his figures unlike to any one object。 This idea of the perfect
state of nature； which the artist calls the ideal beauty； is the great leading
principle by which works of genius are conducted。 By this Phidias
acquired his fame。 He wrought upon a sober principle what has so much
excited the enthusiasm of the world； and by this method you； who have
courage to tread the same path； may acquire equal reputation。
This is the idea which has acquired； and which seems to have a right to
the epithet of Divine； as it may be said to preside； like a supreme judge；
over all the productions of nature； appearing to be possessed of the will
and intention of the Creator； as far as they regard the external form of
living beings。
When a man once possesses this idea in its perfection； there is no
danger but that he will he sufficiently warmed by it himself； and be able to
warm and ravish every one else。
Thus it is from a reiterated experience； and a close comparison of the
objects in nature； that an artist becomes possessed of the idea of that
central form； if I may so express it； from which every deviation is
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deformity。 But the investigation of this form I grant is painful； and I
know but of one method of shortening the road； this is； by a careful study
of the works of the ancient sculptors； who； being indefatigable in the
school of nature； have left models of that perfect form behind them； which
an artist would prefer as supremely beautiful； who had spent his whole life
in that single contemplation。 But if industry carried them thus far； may
not you also hope for the same reward from the same labour？ We have
the same school opened to us that was opened to them； for nature denies
her instructions to none who desire to become her pupils。
To the principle I have laid down； that the idea of beauty in each
species of beings is invariably one； it may be objected that in every
particular species there are various central forms； which are separate and
distinct from each other； and yet are undeniably beautiful； that in the
human figure； for instance； the beauty of the Hercules is one； of the
gladiator another； of the Apollo another； which makes so many different
ideas of beauty。
It is true； indeed； that these figures are each perfect in their kind；
though of different characters and proportions； but still none of them is the
representation of an individual； but of a class。 And as there is one
general form； which； as I have said； belongs to the human kind at large； so
in each of these classes there is one common idea and central form； which
is the abstract of the various individual forms belonging to that class。
Thus； though the forms of childhood and age differ exceedingly； there is a
common form in childhood； and a common form in age；which is the
more perfect； as it is more remote from all peculiarities。 But I must add
further； that though the most perfect forms of each of the general divisions
of the human figure are ideal； and superior to any individual form of that
class； yet the highest perfection of the human figure is not to be found in
any one of them。 It is not in the Hercules； nor in the gladiator； nor in the
Apollo； but in that form which is taken from them all； and which partakes
equally of the activity of the gladiator； of the delicacy of the Apollo； and
of the muscular strength of the Hercules。 For perfect beauty in any
species must combine all the characters which are beautiful in that species。
It cannot consist in any one to the exclusion of the rest： no one； therefore；
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must be predominant； that no one may be deficient。
The knowledge of these different characters； and the power of
separating and distinguishing them； is undoubtedly necessary to the
painter； who is to vary his compositions with figures of various forms and
proportions； though he is never to lose sight of the general idea of
perfection in each kind。
There is； likewise； a kind of symmetry or proportion； which may
properly be said to belong to deformity。 A figure lean or corpulent； tall or
short； though deviating from beauty； may still have a certain union of the
various parts； which may contribute to make them； on the whole； not
unpleasing。 When the artist has by diligent attention acquired a clear and
distinct idea of beauty and symmetry； when he has reduced the variety of
nature to the abstract idea； his next task will be to become acquainted with
the genuine habits of nature； as distinguished from those of fashion。 For
in the same manner； and on the same principles； as he has acquired the
knowledge of the real forms of nature； distinct from accidental deformity；
he must endeavour to separate simple chaste nature from those
adventitious； those affected and forced airs or actions； with which she is
loaded by modern education。
Perhaps I cannot better explain what I mean than by reminding you of
what was taught us by the Professor of Anatomy； in respect to the natural
position and movement of the feet。 He observed that the fashion of
turning； them outwards was contrary to the intent of nature； as might be
seen from the structure of the bones； and from the weakness that
proceeded from that manner of standing。 To this we may add the erect
position of the head； the projection of the chest； the walking with straight
knees； and many such actions； which are merely the result of fashion； and
what nature never warranted； as we are sure that we have been taught them
when children。
I have