seven discourses on art(艺术七讲座)-第24章
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SEVEN DISCOURSES ON ART
himself； and to repeat what he has before often repeated。 When we know
the subject designed by such men； it will never be difficult to guess what
kind of work is to be produced。
It is vain for painters or poets to endeavour to invent without materials
on which the mind may work； and from which invention must originate。
Nothing can come of nothing。
Homer is supposed to be possessed of all the learning of his time。 And
we are certain that Michael Angelo and Raffaelle were equally possessed
of all knowledge in the art which was discoverable in the works of their
predecessors。
A mind enriched by an assemblage of all the treasures of ancient and
modern art will be more elevated and fruitful in resources in proportion to
the number of ideas which have been carefully collected and thoroughly
digested。 There can be no doubt that he who has the most materials has
the greatest means of invention； and if he has not the power of using them；
it must proceed from a feebleness of intellect or from the confused manner
in which those collections have been laid up in his mind。
The addition of other men's judgment is so far from weakening； as is
the opinion of many； our own； that it will fashion and consolidate those
ideas of excellence which lay in their birth feeble； ill…shaped； and confused；
but which are finished and put in order by the authority and practice of
those whose works may be said to have been consecrated by having stood
the test of ages。
The mind； or genius； has been compared to a spark of fire which is
smothered by a heap of fuel and prevented from blazing into a flame。
This simile； which is made use of by the younger Pliny； may be easily
mistaken for argument or proof。
There is no danger of the mind's being over…burdened with knowledge；
or the genius extinguished by any addition of images； on the contrary；
these acquisitions may as well； perhaps better； be compared； if
comparisons signified anything in reasoning； to the supply of living
embers； which will contribute to strengthen the spark that without the
association of more would have died away。
The truth is； he whose feebleness is such as to make other men's
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SEVEN DISCOURSES ON ART
thoughts an incumbrance to him can have no very great strength of mind
or genius of his own to be destroyed； so that not much harm will be done
at worst。
We may oppose to Pliny the greater authority of Cicero； who is
continually enforcing the necessity of this method of study。 In his
dialogue on Oratory he makes Crassus say； that one of the first and most
important precepts is to choose a proper model for our imitation。 Hoc fit
primum in preceptis meis ut demonstremus quem imitemur。
When I speak of the habitual imitation and continued study of masters；
it is not to be understood that I advise any endeavour to copy the exact
peculiar colour and complexion of another man's mind； the success of
such an attempt must always be like his who imitates exactly the air；
manner； and gestures of him whom he admires。 His model may be
excellent； but the copy will be ridiculous； this ridicule does not arise from
his having imitated； but from his not having chosen the right mode of
imitation。
It is a necessary and warrantable pride to disdain to walk servilely
behind any individual； however elevated his rank。 The true and liberal
ground of imitation is an open field； where； though he who precedes has
had the advantage of starting before you； yet it is enough to pursue his
course； you need not tread in his footsteps； and you certainly have a right
to outstrip him if you can。
Nor； whilst I recommend studying the art from artists； can I be
supposed to mean that nature is to be neglected？ I take this study in aid
and not in exclusion of the other。 Nature is； and must be； the fountain
which alone is inexhaustible； and from which all excellences must
originally flow。
The great use of studying our predecessors is to open the mind； to
shorten our labour； and to give us the result of the selection made by those
great minds of what is grand or beautiful in nature： her rich stores are all
spread out before us； but it is an art； and no easy art； to know how or what
to choose； and how to attain and secure the object of our choice。
Thus the highest beauty of form must be taken from nature； but it is an
art of long deduction and great experience to know how to find it。
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SEVEN DISCOURSES ON ART
We must not content ourselves with merely admiring and relishing； we
must enter into the principles on which the work is wrought； these do not
swim on the superficies； and consequently are not open to superficial
observers。
Art in its perfection is not ostentatious； it lies hid； and works its effect
itself unseen。 It is the proper study and labour of an artist to uncover and
find out the latent cause of conspicuous beauties； and from thence form
principles for his own conduct； such an examination is a continual
exertion of the mind； as great； perhaps； as that of the artist whose works he
is thus studying。
The sagacious imitator not only remarks what distinguishes the
different manner or genius of each master； he enters into the contrivance
in the composition； how the masses of lights are disposed； the means by
which the effect is produced； how artfully some parts are lost in the
ground； others boldly relieved； and how all these are mutually altered and
interchanged according to the reason and scheme of the work。 He
admires not the harmony of colouring alone； but he examines by what
artifice one colour is a foil to its neighbour。 He looks close into the tints；
of what colours they are composed； till he has formed clear and distinct
ideas； and has learnt to see in what harmony and good colouring consists。
What is learnt in this manner from the works of others becomes really our
own； sinks deep； and is never forgotten； nay； it is by seizing on this clue
that we proceed forward； and get further and further in enlarging the
principle and improving the practice。
There can be no doubt but the art is better learnt from the works
themselves than from the precepts which are formed upon these works；
but if it is difficult to choose proper models for imitation； it requires no
less circumspection to separate and distinguish what in those models we
ought to imitate。
I cannot avoid mentioning here； though it is not my intention at present
to enter into the art and method of study； an error which students are too
apt to fall into。
He that is forming himself must look with great caution and wariness
on those peculiarities； or prominent parts； which at first force themselves
