seven discourses on art(艺术七讲座)-第26章
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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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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 tends to
form the taste； and as a practice by which a spark of that genius may be
caught which illumines these noble works； that ought always to be present
to our thoughts。
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We come now to speak of another kind of imitation； the borrowing a
particular thought； an action； attitude； or figure； and transplanting it into
your own work： this will either come under the charge of plagiarism； or
be warrantable； and deserve commendation； according to the address with
which it is performed。 There is some difference likewise whether it is upon
the ancients or the moderns that these depredations are made。 It is
generally allowed that no man need be ashamed of copying the ancients：
their works are considered as a magazine of common property； always
open to the public； whence every man has a right to what materials he
pleases； and if he has the art of using them； they are supposed to become
to all intents and purposes his own property。
The collection which Raffaelle made of the thoughts of the ancients
with so much trouble； is a proof of his opinion on this subject。 Such
collections may be made with much more ease； by means of an art scarce
known in his time； I mean that of engraving； by which； at an easy rate；
every man may now avail himself of the inventions of antiquity。
It must be acknowledged that the works of the moderns are more the
property of their authors； he who borrows an idea from an artist； or
perhaps from a modern； not his contemporary； and so accommodates it to
his own work that it makes a part of it； with no seam or joining appearing；
can hardly be charged with plagiarism； poets practise this kind of
borrowing without reserve。 But an artist should not be contented with
this only； he should enter into a competition with his original； and
endeavour to improve what he is appropriating to his own work。 Such
imitation is so far from having anything in it of the servility of plagiarism；
that it is a perpetual exercise of the mind； a continual invention。
Borrowing or stealing with such art and caution will have a right to the
same lenity as was used by the Lacedemonians； who did not punish theft；
but the want of artifice to conceal it。
In order to encourage you to imitation； to the utmost extent； let me add；
that very finished artists in the inferior branches of the art will contribute
to furnish the mind and give hints of which a skilful painter； who is
sensible of what he wants； and is in no danger of being infected by the
contact of vicious models； will know how to avail himself。 He will pick
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up from dunghills what by a nice chemistry； passing through his own mind；
shall be converted into pure gold； and； under the rudeness of Gothic essays；
he will find original； rational； and even sublime inventions。
In the luxuriant style of Paul Veronese； in the capricious compositions
of Tintoret； he will find something that will assist his invention； and give
points； from which his own imagination shall rise and take flight； when the
subject which he treats will； with propriety； admit of splendid effects。
In every school； whether Venetian； French； or Dutch； he will find
either ingenious compositions； extraordinary effects； some peculiar
expressions； or some mechanical excellence； well worthy his attention and；
in some measure； of his imitation； even in the lower class of the French
painters； great beauties are often found united with great defects。
Though Coypel wanted a simplicity of taste； and mistook a
presumptuous and assuming air for what is grand and majestic； yet he
frequently has good sense and judgment in his manner of telling his stories；
great skill in his compositions； and is not without a considerable power of
expressing the passions； The modern affectation of grace in his works； as
well as in those of Bouche and Watteau； may be said to be separated by a
very thin partition from the more simple and pure grace of Correggio and
Parmigiano。
Amongst the Dutch painters； the correct； firm； and determined pencil；
which was employed by Bamboccio and Jan Miel on vulgar and mean
subjects； might without any change be employed on the hig
