seven discourses on art(艺术七讲座)-第5章
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any authority but what he shall himself judge to be supported by reason。
Confiding now in his own judgment； he will consider and separate those
different principles to which different modes of beauty owe their original。
In the former period he sought only to know and combine excellence；
wherever it was to be found； into one idea of perfection； in this he learns；
what requires the most attentive survey and the subtle disquisition； to
discriminate perfections that are incompatible with each other。
He is from this time to regard himself as holding the same rank with
those masters whom he before obeyed as teachers； and as exercising a sort
of sovereignty over those rules which have hitherto restrained him。
Comparing now no longer the performances of art with each other； but
examining the art itself by the standard of nature； he corrects what is
erroneous； supplies what is scanty； and adds by his own observation what
the industry of his predecessors may have yet left wanting to perfection。
Having well established his judgment； and stored his memory； he may
now without fear try the power of his imagination。 The mind that has
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been thus disciplined may be indulged in the warmest enthusiasm； and
venture to play on the borders of the wildest extravagance。 The habitual
dignity； which long converse with the greatest minds has imparted to him；
will display itself in all his attempts； and he will stand among his
instructors； not as an imitator； but a rival。
These are the different stages of the art。 But as I now address myself
particularly to those students who have been this day rewarded for their
happy passage through the first period； I can with no propriety suppose
they want any help in the initiatory studies。 My present design is to
direct your view to distant excellence； and to show you the readiest path
that leads to it。 Of this I shall speak with such latitude as may leave the
province of the professor uninvaded； and shall not anticipate those
precepts which it is his business to give and your duty to understand。
It is indisputably evident that a great part of every man's life must be
employed in collecting materials for the exercise of genius。 Invention；
strictly speaking； is little more than a new combination of those images
which have been previously gathered and deposited in the memory。
Nothing can come of nothing。 He who has laid up no materials can
produce no combinations。
A student unacquainted with the attempts of former adventurers is
always apt to overrate his own abilities； to mistake the most trifling
excursions for discoveries of moment； and every coast new to him for a
new…found country。 If by chance he passes beyond his usual limits； he
congratulates his own arrival at those regions which they who have steered
a better course have long left behind them。
The productions of such minds are seldom distinguished by an air of
originality： they are anticipated in their happiest efforts； and if they are
found to differ in anything from their predecessors； it is only in irregular
sallies and trifling conceits。 The more extensive therefore your
acquaintance is with the works of those who have excelled the more
extensive will be your powers of invention； and what may appear still
more like a paradox； the more original will be your conceptions。 But the
difficulty on this occasion is to determine who ought to be proposed as
models of excellence； and who ought to be considered as the properest
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guides。
To a young man just arrived in Italy； many of the present painters of
that country are ready enough to obtrude their precepts； and to offer their
own performances as examples of that perfection which they affect to
recommend。 The modern； however； who recommends HIMSELF as a
standard； may justly be suspected as ignorant of the true end； and
unacquainted with the proper object of the art which he professes。 To
follow such a guide will not only retard the student； but mislead him。
On whom； then； can he rely； or who shall show him the path that leads
to excellence？ The answer is obvious： Those great masters who have
travelled the same road with success are the most likely to conduct others。
The works of those who have stood the test of ages have a claim to that
respect and veneration to which no modern can pretend。 The duration
and stability of their fame is sufficient to evince that it has not been
suspended upon the slender thread of fashion and caprice； but bound to the
human heart by every tie of sympathetic approbation。
There is no danger of studying too much the works of those great men；
but how they may be studied to advantage is an inquiry of great
importance。
Some who have never raised their minds to the consideration of the
real dignity of the art； and who rate the works of an artist in proportion as
they excel； or are defective in the mechanical parts； look on theory as
something that may enable them to talk but not to paint better； and
confining themselves entirely to mechanical practice； very assiduously toil
on in the drudgery of copying； and think they make a rapid progress while
they faithfully exhibit the minutest part of a favourite picture。 This
appears to me a very tedious； and I think a very erroneous； method of
proceeding。 Of every large composition； even of those which are most
admired； a great part may be truly said to be common…place。 This；
though it takes up much time in copying； conduces little to improvement。
I consider general copying as a delusive kind of industry； the student
satisfies himself with the appearance of doing something； he falls into the
dangerous habit of imitating without selecting； and of labouring without
any determinate object； as it requires no effort of the mind； he sleeps over
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his work； and those powers of invention and composition which ought
particularly to be called out and put in action lie torpid； and lose their
energy for want of exercise。
It is an observation that all must have made； how incapable those are
of producing anything of their own who have spent much of their time in
making finished copies。
To suppose that the complication of powers； and variety of ideas
necessary to that mind which aspires to the first honours ill the art of
painting； can be obtained by the frigid contemplation of a few single
models； is no l
