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when children。
I have mentioned but a few of those instances； in which vanity or
caprice have contrived to distort and disfigure the human form； your own
recollection will add to these a thousand more of ill… understood methods；
that have been practised to disguise nature； among our dancing…masters；
hair…dressers； and tailors； in their various schools of deformity。
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SEVEN DISCOURSES ON ART
However the mechanic and ornamental arts may sacrifice to fashion；
she must be entirely excluded from the art of painting； the painter must
never mistake this capricious changeling for the genuine offspring of
nature； he must divest himself of all prejudices in favour of his age or
country； he must disregard all local and temporary ornaments； and look
only on those general habits that are everywhere and always the same。
He addresses his works to the people of every country and every age； he
calls upon posterity to be his spectators； and says with Zeuxis； In
aeternitatem pingo。
The neglect of separating modern fashions from the habits of nature；
leads to that ridiculous style which has been practised by some painters
who have given to Grecian heroes the airs and graces practised in the court
of Louis XIV。； an absurdity almost as great as it would have been to have
dressed them after the fashion of that court。
To avoid this error； however； and to retain the true simplicity of nature；
is a task more difficult than at first sight it may appear。 The prejudices in
favour of the fashions and customs that we have been used to； and which
are justly called a second nature； make it too often difficult to distinguish
that which is natural from that which is the result of education； they
frequently even give a predilection in favour of the artificial mode； and
almost every one is apt to be guided by those local prejudices who has not
chastised his mind； and regulated the instability of his affections； by the
eternal invariable idea of nature。
Here； then； as before； we must have recourse to the ancients as
instructors。 It is from a careful study of their works that you will be
enabled to attain to the real simplicity of nature； they will suggest many
observations； which would probably escape you； if your study were
confined to nature alone。 And； indeed； I cannot help suspecting； that in
this instance the ancients had an easier task than the moderns。 They had；
probably； little or nothing to unlearn； as their manners were nearly
approaching to this desirable simplicity； while the modern artist； before he
can see the truth of things； is obliged to remove a veil； with which the
fashion of the times has thought proper to cover her。
Having gone thus far in our investigation of the great style in painting；
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SEVEN DISCOURSES ON ART
if we now should suppose that the artist has formed the true idea of beauty；
which enables him to give his works a correct and perfect design； if we
should suppose also that he has acquired a knowledge of the unadulterated
habits of nature； which gives him simplicity； the rest of his talk is； perhaps；
less than is generally imagined。 Beauty and simplicity have so great a
share in the composition of a great style； that he who has acquired them
has little else to learn。 It must not； indeed； be forgot that there is a
nobleness of conception； which goes beyond anything in the mere
exhibition； even of perfect form； there is an art of animating and
dignifying the figures with intellectual grandeur； of impressing the
appearance of philosophic wisdom or heroic virtue。 This can only be
acquired by him that enlarges the sphere of his understanding by a variety
of knowledge； and warms his imagination with the best productions of
ancient and modern poetry。
A hand thus exercised； and a mind thus instructed； will bring the art to
a higher degree of excellence than； perhaps； it has hitherto attained in this
country。 Such a student will disdain the humbler walks of painting；
which； however profitable； can never assure him a permanent reputation。
He will leave the meaner artist servilely to suppose that those are the best
pictures which are most likely to deceive the spectator。 He will permit
the lower painter； like the florist or collector of shells； to exhibit the
minute discriminations which distinguish one object of the same species
from another； while he； like the philosopher； will consider nature in the
abstract； and represent in every one of his figures the character of its
species。
If deceiving the eye were the only business of the art； there is no doubt；
indeed； but the minute painter would be more apt to succeed： but it is not
the eye； it is the mind； which the painter of genius desires to address； nor
will he waste a moment upon these smaller objects； which only serve to
catch the sense； to divide the attention； and to counteract his great design
of speaking to the heart。
This is the ambition I could wish to excite in your minds； and the
object I have had in my view； throughout this discourse； is that one great
idea which gives to painting its true dignity； that entitles it to the name of a
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Liberal Art； and ranks it as a sister of poetry。
It may possibly have happened to many young students whose
application was sufficient to overcome all difficulties； and whose minds
were capable of embracing the most extensive views； that they have； by a
wrong direction originally given； spent their lives in the meaner walks of
painting； without ever knowing there was a nobler to pursue。 〃Albert
Durer；〃 as Vasari has justly remarked； 〃would probably have been one of
the first painters of his age （and he lived in an era of great artists） had he
been initiated into those great principles of the art