by the contact, is the true method of forming an artist> like mind; it is impossible, in the presence of those great men, to think, or invent in a mean manner; a state of mind is acquired that receives those ideas only which relish of grandeur and simplicity.

Besides the general advantage of forming the taste by such an intercourse, there is another of a particular kind, which was suggested to me by the practice of Raffaelle, when imitating the work of which I have been speaking. The figure of the Proconsul, Sergius Paulus, is taken from the Felix of Masaccio, though one is a front figure, and the other seen in profile; the action is likewise somewhat changed: but it is plain Raffaelle had that figure in his mind. There is a circumstance indeed, which I mention by the by, which marks it very particularly; Sergius Paulus wears a crown of laurel; this is hardly reconcileable to strict propriety, and the costume, of which Raffaelle was in general a good observer; but he found it so in Masaccio, and he did not bestow so much pains in disguise as to change it. It appears to me to be an excellent practice, thus to suppose the figures which you wish to adopt in the works of those great Painters to be statues; and to give, as Raffaelle has here given, another view, taking care to preserve all the spirit and grace you find in the original.

I should hope, from what has been lately said, that it is not necessary to guard myself against any supposition of recommending an entire dependence upon former masters. I do not desire that you should get other people to do your business, or to think for you; I only wish you to consult with, to call in, as counsellors, men the most distinguished for their knowledge and experience, the result of which counsel must ultimately depend upon yourself. Such conduct in the

commerce of life has never been considered as disgraceful, or in any respect to imply intellectual imbecility; it is a sign rather of that true wisdom, which feels individual imperfection; and is conscious to itself how much collective observation is necessary to fill the immense extent, and to comprehend the infinite variety of nature. I recommend neither self-dependence nor plagiarism. I advise you only to take that assistance which every human being wants, and which, as appears from the examples that have been given, the greatest painters have not disdained to accept, Let me add, that the diligence required in the search, and the exertion subsequent in accommodating those ideas to your own purpose, is a business which idleness will not, and ignorance cannot, perform. But in order more distinctly to explain what kind of borrowing I mean, when I recommend so anxiously the study of the works of great masters, let us, for a minute, return again to Raffaelle, consider his method of practice, and endeavour to imitate him, in his manner of imitating others.

The two figures of St. Paul which I lately mentioned, are so nobly conceived by Masaccio, that perhaps it was not in the power even of Raffaelle himself to raise and improve them, nor has he attempted it; but he has had the address to change in some measure without diminishing the grandeur of their character; he has substituted, in the place of a serene composed dignity, that animated expression which was necessary to the more active employment he assigned them.

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In the same manner he has given more animation to the figure of Sergius Paulus, and to that which is introduced in the picture of St. Paul preaching, of which little more than hints are given by Masaccio, which Raffaelle has finished. The closing the eyes of this

figure, which in Masaccio might be easily mistaken for sleeping, is not in the least ambiguous in the Cartoon: his eyes indeed are closed, but they are closed with such vehemence, that the agitation of a mind perplexed in the extreme is seen at the first glance; but what is most extraordinary, and I think particularly to be admired, is, that the same idea is continued through the whole figure, even to the drapery, which is so closely muffled about him, that even his hands are not seen; by this happy correspondence between the expression of the countenance, and the disposition of the parts, the figure appears to think from head to foot. Men of superior talents alone are capable of thus using and adapting other men's minds to their own purposes, or are able to make out and finish what was only in the original a hint or imperfect conception. A readiness in taking such hints, which escape the dull and ignorant, makes in my opinion no inconsiderable part of that faculty of the mind which is called Genius.

It often happens that hints may be taken and employed in a situation totally different from that in which they were originally employed. There is a figure of a Bacchante leaning backward, her head thrown quite behind her, which seems to be a favourite invention, as it is so frequently repeated in basso-relievos, cameos, and intaglios; it is intended to express an enthusiastic frantic kind of joy. This figure Baccio Bandinelli, in a drawing that I have of that Master, of the Descent from the Cross, has adopted, (and he knew very well what was worth borrowing,) for one of the Marys, to express frantic agony of grief. It is curious to observe, and it is certainly true, that the extremes of contrary passions are with very little variation expressed by the same action.

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If I were to recommend method in any part of the

study of a Painter, it would be in regard to invention; that young Students should not presume to think themselves qualified to invent, till they were acquainted with those stores of invention the world already possesses, and had by that means accumulated sufficient materials for the mind to work with. It would certainly be no improper method of forming the mind of a young Artist, to begin with such exercises as the Italians call a Pasticcio composition of the different excellencies which are dispersed in all other works of the same kind. It is not supposed that he is to stop here, but that he is to acquire by this means the art of selecting, first what is truly excellent in Art, and then what is still more excellent in Nature; a task which, without this previous study, he will be but ill qualified to perform.

The doctrine which is here advanced, is acknowledged to be new, and to many may appear strange. But I only demand for it the reception of a stranger; a favourable and attentive consideration, without that entire confidence which might be claimed under authoritative recommendation.

After you have taken a figure, or any idea of a figure, from any of those great Painters, there is another oper ation still remaining, which I hold to be indispensably necessary, that is, never to neglect finishing from nature every part of the work. What is taken from a model, though the first idea may have been suggested by another, you have a just right to consider as your own property. And here I cannot avoid mentioning a cir cumstance in placing the model, though to some it may appear trifling. It is better to possess the model with the attitude you require, than to place him with your own hands: by this means it happens often that the model puts himself in an action superior to your

own imagination. It is a great matter to be in the way of accident, and to be watchful and ready to take advantage of it: besides, when you fix the position of a model, there is danger of putting him in an attitude into which no man would naturally fall. This extends even to drapery. We must be cautious in touching and altering a fold of the stuff, which serves as a model, for fear of giving it inadvertently a forced form and it is perhaps better to take the chance of another casual throw, than to alter the position in which it was at first accidentally cast.

Rembrandt, in order to take the advantage of ac cident, appears often to have used the pallet-knife te lay his colours on the canvass, instead of the pencil. Whether it is the knife or any other instrument, it suffices if it is something that does not follow exactly the will. Accident in the hands of an artist who knows how to take the advantage of its hints, will often produce bold and capricious beauties of handling and facility, such as he would not have thought of, or ventured, with his pencil, under the regular restraint of his hand. However, this is fit only on occasions where no correctness of form is required, such as clouds, stumps of trees, rocks, or broken ground. Works produced in an accidental manner will have the same free unrestrained air as the works of nature, whos? particular combinations seem to depend upon accident

I again repeat, you are never to lose sight of nature; the instant you do, yoù are all abroad, at the mercy of every gust of fashion, without knowing or seeing the point to which you ought to steer. Whatever trips. you make, you must still have nature in your eye. Such deviations as art necessarily requires, I hope in a future Discourse to be able to explain. In the mean time, let me recommend to you, not to have too great