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ent has succeeded in some measure to his own satisfaction； and has felicitated himself on his success； to go voluntarily to a tribunal where he knows his vanity must be humbled； and all self…approbation must vanish； requires not only great resolution； but great humility。 To him； however； who has the Ambition to be a real master； the solid satisfaction which proceeds from a consciousness of his advancement （of which seeing his own faults is the first step） will very abundantly compensate for the mortification of present disappointment。 There is； besides； this alleviating circumstance。 Every discovery he makes； every acquisition of knowledge he attains； seems to proceed from his own sagacity； and thus he acquires a confidence in himself sufficient to keep up the resolution of perseverance。
We all must have experienced how lazily； and consequently how ineffectually； instruction is received when forced upon the mind by others。 Few have been taught to any purpose who have not been their own teachers。 We prefer those instructions which we have given ourselves； from our affection to the instructor； and they are more effectual； from being received into the mind at the very time when it is most open and eager to receive them。
With respect to the pictures that you are to choose for your models； I could wish that you would take the world's opinion rather than your own。 In other words； I would have you choose those of established reputation rather than follow your own fancy。 If you should not admire them at first； you will； by endeavouring to imitate them； find that the world has not been mistaken。
It is not an easy task to point out those various excellences for your imitation which he distributed amongst the various schools。 An endeavour to do this may perhaps be the subject of some future discourse。 I will； therefore； at present only recommend a model for style in painting； which is a branch of the art more immediately necessary to the young student。 Style in painting is the same as in writing； a power over materials； whether words or colours； by which conceptions or sentiments are conveyed。 And in this Lodovico Carrache （I mean in his best works） appears to me to approach the nearest to perfection。 His unaffected breadth of light and shadow； the simplicity of colouring； which holding its proper rank； does not draw aside the least part of the attention from the subject； and the solemn effect of that twilight which seems diffused over his pictures； appear to me to correspond with grave and dignified subjects； better than the more artificial brilliancy of sunshine which enlightens the pictures of Titian。 Though Tintoret thought that Titian's colouring was the model of perfection； and would correspond even with the sublime of Michael Angelo； and that if Angelo had coloured like Titian； or Titian designed like Angelo； the world would once have had a perfect painter。
It is our misfortune； however； that those works of Carrache which I would recommend to the student are not often found out of Bologna。 The 〃St。 Francis in the midst of his Friars；〃 〃The Transfiguration；〃 〃The Birth of St。 John the Baptist；〃 〃The Calling of St。 Matthew；〃 the 〃St。 Jerome；〃 the fresco paintings in the Zampieri Palace； are all worthy the attention of the student。 And I think those who travel would do well to allot a much greater portion of their time to that city than it has been hitherto the custom to bestow。
In this art； as in others； there are many teachers who profess to show the nearest way to excellence； and many expedients have been invented by which the toil of study might be saved。 But let no man be seduced to idleness by specious promises。 Excellence is never granted to man but as the reward of labour。 It argues； indeed； no small strength of mind to persevere in habits of industry； without the pleasure of perceiving those advances； which； like the hand of a clock； whilst they make hourly approaches to their point； yet proceed so slowly as to escape observation。 A facility of drawing； like that of playing upon a musical instrument； cannot be acquired but by an infinite number of acts。 I need not； therefore； enforce by many words the necessity of continual application； nor tell you that the port…crayon ought to be for ever in your hands。 Various methods will occur to you by which this power may be acquired。 I would particularly recommend that after your return from the academy （where I suppose your attendance to be constant） you would endeavour to draw the figure by memory。 I will even venture to add； that by perseverance in this custom； you will become able to draw the human figure tolerably correct； with as little effort of the mind as to trace with a pen the letters of the alphabet。
That this facility is not unattainable； some members in this academy give a sufficient proof。 And； be assured； that if this power is not acquired whilst you are young； there will be no time for it afterwards： at least； the attempt will be attended with as much difficulty as those experience who learn to read or write after they have arrived to the age of maturity。
But while I mention the port…crayon as the student's constant companion； he must still remember that the pencil is the instrument by which he must hope to obtain eminence。 What； therefore； I wish to impress upon you is； that whenever an opportunity offers； you paint your studies instead of drawing them。 This will give you such a facility in using colours； that in time they will arrange themselves under the pencil； even without the attention of the hand that conducts it。 If one act excluded the other； this advice could not with any propriety be given。 But if painting comprises both drawing and colouring and if by a short struggle of resolute industry the same expedition is attainable in painting as in drawing on paper； I cannot see what objection can justly be made to the practice； or why that should be done by parts； which may be done altogether。
If we turn our eyes to the several schools of painting； and consider their respective excellences； we shall find that those who excel most in colouring pursued this method。 The Venetian and Flemish schools； which owe much of their fame to colouring； have enriched the cabinets of the collectors of drawings with very few examples。 Those of Titian； Paul Veronese； Tintoret； and the Bassans； are in general slight and undetermined。 Their sketches on paper are as rude as their pictures are excellent in regard to harmony of colouring。 Correggio and Barocci have left few； if any； finished drawings behind them。 And in the Flemish school； Rubens and Vandyke made their designs for the most part either in colours or in chiaroscuro。 It is as common to find studies of the Venetian and Flemish painters on canvas； as of the schools of Rome and Florence on paper。 Not but that many finished drawings are sold under the names of those masters。 Those； however； are undoubtedly the productions either of engravers or of their scholars who copied their works。
These instructions I have ventured to offer from my own experience； but as they deviate widely from received opinions； I offer them with diffidence； and when better are suggested； shall r