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unite in himself the excellences of the various painters； will approach
nearer to perfection than any one of his masters。
He who confines himself to the imitation of an individual； as he never
proposes to surpass； so he is not likely to equal； the object of imitation。
He professes only to follow； and he that follows must necessarily be
behind。
We should imitate the conduct of the great artists in the course of their
studies； as well as the works which they produced； when they were
perfectly formed。 Raffaelle began by imitating implicitly the manner of
Pietro Perugino； under whom he studied； so his first works are scarce to be
distinguished from his master's； but soon forming higher and more
extensive views； he imitated the grand outline of Michael Angelo。 He
learnt the manner of using colours from the works of Leonardo da Vinci
and Fratre Bartolomeo： to all this he added the contemplation of all the
remains of antiquity that were within his reach； and employed others to
draw for him what was in Greece and distant places。 And it is from his
having taken so many models that he became himself a model for all
succeeding painters； always imitating； and always original。
If your ambition therefore be to equal Raffaelle； you must do as
Raffaelle did； take many models； and not take even him for your guide
alone to the exclusion of others。 And yet the number is infinite of those
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who seem； if one may judge by their style； to have seen no other works but
those of their master； or of some favourite whose manner is their first wish
and their last。
I will mention a few that occur to me of this narrow； confined； illiberal；
unscientific； and servile kind of imitators。 Guido was thus meanly
copied by Elizabetta Sirani； and Simone Cantarini； Poussin； by Verdier
and Cheron； Parmigiano； by Jeronimo Mazzuoli； Paolo Veronese and
Iacomo Bassan had for their imitators their brothers and sons； Pietro de
Cortona was followed by Ciro Ferri and Romanelli； Rubens； by Jacques
Jordans and Diepenbeck； Guercino； by his own family； the Gennari； Carlo
Marratti was imitated by Giuseppe Chiari and Pietro da Pietri； and
Rembrandt； by Bramer； Eckhout； and Flink。 All these； to whom may be
added a much longer list of painters； whose works among the ignorant
pass for those of their masters； are justly to be censured for barrenness and
servility。
To oppose to this list a few that have adopted a more liberal style of
imitation： Pelegrino Tibaldi； Rosso； and Primaticio did not coldly imitate；
but caught something of the fire that animates the works of Michael
Angelo。 The Carraches formed their style from Pelegrino Tibaldi；
Correggio； and the Venetian School。 Domenichino； Guido； Lanfranco；
Albano； Guercino； Cavidone； Schidone； Tiarini； though it is sufficiently
apparent that they came from the School of the Carraches； have yet the
appearance of men who extended their views beyond the model that lay
before them； and have shown that they had opinions of their own； and
thought for themselves； after they had made themselves masters of the
general principles of their schools。
Le Seure's first manner resembles very much that of his master Vovet：
but as he soon excelled him； so he differed from him in every part of the
art。 Carlo Marratti succeeded better than those I have first named； and I
think owes his superiority to the extension of his views； besides his master
Andrea Sacchi； he imitated Raffaelle； Guido； and the Carraches。 It is true；
there is nothing very captivating in Carlo Marratti； but this proceeded
from wants which cannot be completely supplied； that is； want of strength
of parts。 In this； certainly men are not equal； and a man can bring home
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SEVEN DISCOURSES ON ART
wares only in proportion to the capital with which he goes to market。
Carlo； by diligence； made the most of what he had； but there was
undoubtedly a heaviness about him； which extended itself； uniformly to
his invention； expression； his drawing； colouring； and the general effect of
his pictures。 The truth is； he never equalled any of his patterns in any
one thing； and he added little of his own。
But we must not rest contented； even in this general study of the
moderns； we must trace back the art to its fountain head； to that source
from whence they drew their principal excellences； the monuments of pure
antiquity。
All the inventions and thoughts of the ancients； whether conveyed to
us in statues； bas…reliefs； intaglios； cameos； or coins； are to be sought after
and carefully studied： The genius that hovers over these venerable relics
may be called the father of modern art。
From the remains of the works of the ancients the modern arts were
revived； and it is by their means that they must be restored a second time。
However it may mortify our vanity； we must be forced to allow them our
masters； and we may venture to prophecy； that when they shall cease to be
studied； arts will no longer flourish； and we shall again relapse into
barbarism。
The fire of the artist's own genius operating upon these materials
which have been thus diligently collected； will enable him to make new
combinations； perhaps； superior to what had ever before been in the
possession of the art。 As in the mixture of the variety of metals； which
are said to have been melted and run together at the burning of Corinth； a
new and till then unknown metal was produced equal in value to any of
those that had contributed to its composition。 And though a curious
refiner may come with his crucibles； analyse and separate its various
component parts； yet Corinthian brass would still hold its rank amongst
the most beautiful and valuable of metals。
We have hitherto considered the advantages of imitation as it te