« ПредыдущаяПродолжить »
put out of hand, were very ill put together. The child paid no attention to the neat finishing or naturalness of any bit of drapery, but appeared to observe only the ungracefulness of the persons represented, and put herself in the posture of every figure which she saw in a forced and awkward attitude. The censure of nature, uninformed, fastened upon the greatest fault that could be in a picture, because it related to the character and management of the whole.
I should be sorry, if what has been said should be understood to have any tendency to encourage that carelessness which leaves work in an unfinished state. I commend nothing for the want of exactness ; I mean to point out that kind of exactness which is the best, and which is alone truly to be so esteemed.
So far is my disquisition from giving countenance to idleness, that there is nothing in our art which enforces such continual exertion and circumspection, as an attention to the general effect of the whole. It requires much study and much practice; it requires the Painter's entire mind; whereas the parts may be finishing by nice touches, while his mind is engaged on other matters; he may even hear a play or a novel read without much disturbance. The artist who flatters his own indolence, will continually find himself evading this active exertion, and applying his thoughts to the ease and laziness of highly finishing the parts; producing at last what Cowley calls “ laborious effects of idleness."
No work can be too much finished, provided the diligence employed be directed to its proper object ; but I have observed that an excessive labour in the detail has, nine times in ten, been pernicious to the general effect, even when it has been the labour of great masters. It indicates a bad choice, which is an ill setting out in any undertaking.
To give a right direction to your industry has been my principal purpose in this discourse. It is this, which I am confident often makes the difference between two Students of equal capacities, and of equal industry. While the one is employing his labour on minute objects of little consequence, the other is acquiring the art, and perfecting the habit, of seeing nature in an extensive view, in its proper proportions, and its due subordination of parts.
Before I conclude, I must make one observation sufficiently connected with the present subject.
The same extension of mind which gives the excel. lence of Genius to the theory and mechanical practice of the art, will direct him likewise in the method of study, and give him the superiority over those who narrowly follow a more confined track of partial imitation. Whoever, in order to finish his education, should travel to Italy, and spend his whole time there only in copying pictures, and measuring statues or buildings, (though these things are not to be neglected,) would return with little improvement. He that imitates the Iliad, says Dr. Young, is not imitating Homer. It is not by laying up in the memory the particular details of any of the great works of art, that any man becomes a great artist, if he stops without making himself master of the general principles on which these works are conducted. If he even hopes to rival those whom he admires, he must consider their works as the means of teaching him the true art of seeing nature. When this is acquired, he then may be said to have appropriated their powers, or at least the foundation of their powers, to himself; the rest must depend upon his own industry and application. The great business of study is, to form a mind, adapted and adequate to all times and all occasions; to which all nature is then laid open, and which
Delivered to the Students of the Royal Academy, on the Distribution
of the Prizes, December 10. 1784.
PARTICULAR METHODS OF STUDY OF LITTLE CONSEQUENCE.
LITTLE OF THE ART CAN BE TAUGHT. - LOVE OF METHOD OFTEN A LOVE OF IDLENESS. - PITTORI IMPROVVISATORI APT TO BE CARELESS AND INCORRECT; SELDOM ORIGINAL AND STRIKING.
THIS PROCEEDS FROM THEIR NOT STUDYING THE WORKS OF OTHER MASTERS.
GENTLEMEN, In consequence of the situation in which I have the honour to be placed in this Academy, it has often happened, that I have been consulted by the young Students who intend to spend some years in Italy, concerning the method of regulating their studies. I am, as I ought to be, solicitously desirous to communicate the entire result of my experience and observation; and though my openness and facility in giving my opinions might make some amends for whatever was defective in them, yet I fear my answers have not often given satisfaction. Indeed I have never been sure, that I understood perfectly what they meant, and was not without some suspicion that they had not themselves very distinct ideas of the object of their inquiry.
If the information required was, by what means the path that leads to excellence could be discovered ; if they wished to know whom they were to take for their guides; what to adhere to, and what to avoid ; where they were to bait, and where they were to take
up their rest ; what was to be tasted only,
and what should be their diet ; such general directions are certainly proper for a Student to ask, and for me, to the best of my capacity, to give; but these rules have been already given : they have, in reality, been the subject of almost all my Discourses from this place. But I am rather inclined to think, that by method of study, it was meant, (as several do mean,) that the times and the seasons should be prescribed, and the order settled, in which every thing was to be done: that it might be useful to point out to what degree of excellence one part of the Art was to be carried, before the Student proceeded to the next; how long he was to continue to draw from the ancient statues, when to begin to compose, and when to apply to the study of colouring.
Such a detail of instruction might be extended with a great deal of plausible and ostentatious amplification. But it would at best be useless. Our studies will be for ever, in a very great degree, under the direction of chance ; like travellers, we must take what we can get, and when we can get it; whether it is or is not administered to us in the most commodious manner, in the most proper place, or at the exact minute when we would wish to have it.
Treatises on education, and method of study, have always appeared to me to have one general fault. They proceed upon a false supposition of life; as if we possessed not only a power over events and circumstances, but had a greater power over ourselves than I believe any of us will be found to possess. Instead of supposing ourselves to be perfect patterns of wisdom and virtue, it seems to me more reasonable to treat ourselves (as I am sure we must now and then treat others) like humoursome children, whose fancies are often to be indulged, in order to keep them in