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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 which were so well
understood and practised by his contemporaries in Italy。 But unluckily；
having never seen or heard of any other manner； he considered his own；
without doubt； as perfect。〃
As for the various departments of painting； which do not presume to
make such high pretensions； they are many。 None of them are without
their merit； though none enter into competition with this great universal
presiding idea of the art。 The painters who have applied themselves
more particularly to low and vulgar characters； and who express with
precision the various shades of passion； as they are exhibited by vulgar
minds （such as we see in the works of Hogarth） deserve great praise； but
as their genius has been employed on low and confined subjects； the praise
that we give must be as limited as its object。 The merrymaking or
quarrelling of the Boors of Teniers； the same sort of productions of
Brouwer； or Ostade； are excellent in their kind； and the excellence and its
praise will be in proportion； as； in those limited subjects and peculiar
forms； they introduce more or less of the expression of those passions； as
they appear in general and more enlarged nature。 This principle may be
applied to the battle pieces of Bourgognone； the French gallantries of
Watteau； and even beyond the exhibition of animal life； to the landscapes
of Claude Lorraine； and the sea… views of Vandervelde。 All these painters
have； in general； the same right； in different degrees； to the name of a
painter； which a satirist； an epigrammatist； a sonnetteer； a writer of
pastorals； or descriptive poetry； has to that of a poet。
In the same rank； and； perhaps； of not so great merit； is the cold painter
of portraits。 But his correct and just imitation of his object has its merit。
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Even the painter of still life； whose highest ambition is to give a minute
representation of every part of those low objects； which he sets before him；
deserves praise in proportion to his attainment； because no part of this
excellent art； so much the ornament of polished life； is destitute of value
and use。 These； however； are by no means the views to which the mind
of the student ought to be PRIMARILY directed。 By aiming at better
things； if from particular inclination； or from the taste of the time and
place he lives in； or from necessity； or from failure in the highest attempts；
he is obliged to descend lower； he will bring into the lower sphere of art a
grandeur of composition and character that will raise and ennoble his
works far above their natural rank。
A man is not weak； though he may not be able to wield the club of
Hercules； nor does a man always practise that which he esteems the beat；
but does that which he can best do。 In moderate attempts； there are many
walks open to the artist。 But as the idea of beauty is of necessity but one；
so there can be but one great mode of painting； the leading principle of
which I have endeavoured to explain。
I should be sorry if what is here recommended should be at all
understood to countenance a careless or indetermined manner of painting。
For though the painter is to overlook the accidental discriminations of
nature； he is to pronounce distinctly； and with precision； the general forms
of things。 A firm and determined outline is one of the characteristics of
the great style in painting； and； let me add； that he who possesses the
knowledge of the exact form； that every part of nature ought to have； will
be fond of expressing that knowledge with correctness and precision in all
his works。
To conclude： I have endeavoured to reduce the idea of beauty to
general principles。 And I had the pleasure to observe that the professor
of painting proceeded in the same method； when he showed you that the
artifice of contrast was founded but on one principle。 And I am convinced
that this is the only means of advancing science； of clearing the mind from
a confused heap of contradictory observations； that do but perplex and
puzzle the student when he compares them； or misguide him if he gives
himself up to their authority； but bringing them under one general head
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SEVEN DISCOURSES ON ART
can alone give rest and satisfaction to an inquisitive mind。
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SEVEN DISCOURSES ON ART
A DISCOURSE IV
Delivered to the Students of the Royal Academy on the
Distribution of the Prizes； December 10； 1771； by the President。
Gentlemen；The value and rank of every art is in proportion to the
mental labour employed in it； or the mental pleasure produced by it。 As
this principle is observed or neglected； our profession becomes either a
liberal art or a mechanical trade。 In the hands of one man it makes the
highest pretensions； as it is addressed to the noblest faculties； In those of
another it is reduced to a mere matter of ornament； and the painter has but
the humble province of furnishing our apartments with elegance。
This exertion of mind； which is the only circumstance that truly
ennobles our art； makes the great distinction between the Roman and
Venetian schools。 I have formerly observed that perfect form is produced
by leaving out particularities； and retaining only general ideas。 I shall
now endeavour to show that this principle； which I have proved to be
metaphysically just； extends itself to every part of the art； that it gives
what is called the grand style to invention； to composition； to expression；
and even to colouring and drapery。
Invention in painting does not imply the invention of the subject； for
that is commonly supplied by the poet or historian。