seven discourses on art(艺术七讲座)-第8章
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choosing ground； and in leading armies； to which he formed his mind by
perpetual meditation； in times of peace as well as war。 When； in any
occasional journey； he came to a straight difficult passage； if he was alone；
he considered with himself； and if he was in company he asked his friends
what it would be best to do if in this place they had found an enemy； either
in the front； or in the rear； on the one side； or on the other。 'It might
happen；' says he； 'that the enemy to be opposed might come on drawn up
in regular lines； or in a tumultuous body； formed only by the nature of the
place。' He then considered a little what ground he should take； what
number of soldiers he should use； and what arms he should give them；
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SEVEN DISCOURSES ON ART
where he should lodge his carriages； his baggage； and the defenceless
followers of his camp； how many guards； and of what kind； he should
send to defend them； and whether it would be better to press forward
along the pass； or recover by retreat his former station： he would
consider likewise where his camp could most commodiously be formed；
how much ground he should enclose within his trenches； where he should
have the convenience of water； and where he might find plenty of wood
and forage； and when he should break up his camp on the following day；
through what road he could most safely pass； and in what form he should
dispose his troops。 With such thoughts and disquisitions he had from his
early years so exercised his mind； that on these occasions nothing could
happen which he had not been already accustomed to consider。〃
I cannot help imagining that I see a promising young painter； equally
vigilant； whether at home； or abroad in the streets； or in the fields。 Every
object that presents itself is to him a lesson。 He regards all nature with a
view to his profession； and combines her beauties； or corrects her defects。
He examines the countenance of men under the influence of passion； and
often catches the most pleasing hints from subjects of turbulence or
deformity。 Even bad pictures themselves supply him with useful
documents； and； as Leonardo da Vinci has observed； he improves upon the
fanciful images that are sometimes seen in the fire； or are accidentally
sketched upon a discoloured wall。
The artist who has his mind thus filled with ideas； and his hand made
expert by practice； works with ease and readiness； whilst he who would
have you believe that he is waiting for the inspirations of genius； is in
reality at a loss how to beam； and is at last delivered of his monsters with
difficulty and pain。
The well…grounded painter； on the contrary； has only maturely to
consider his subject； and all the mechanical parts of his art follow without
his exertion； Conscious of the difficulty of obtaining what he possesses he
makes no pretensions to secrets； except those of closer application。
Without conceiving the smallest jealousy against others； he is contented
that all shall be as great as himself who are willing to undergo the same
fatigue： and as his pre…eminence depends not upon a trick； he is free from
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SEVEN DISCOURSES ON ART
the painful suspicions of a juggler； who lives in perpetual fear lest his trick
should be discovered。
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SEVEN DISCOURSES ON ART
A DISCOURSE III
Delivered to the Students of the Royal Academy on the
Distribution of the Prizes； December； 14； 1770； by the President
Gentlemen；It is not easy to speak with propriety to so many students
of different ages and different degrees of advancement。 The mind requires
nourishment adapted to its growth； and what may have promoted our
earlier efforts； might； retard us in our nearer approaches to perfection。
The first endeavours of a young painter； as I have remarked in a
former discourse； must be employed in the attainment of mechanical
dexterity； and confined to the mere imitation of the object before him。
Those who have advanced beyond the rudiments； may； perhaps； find
advantage in reflecting on the advice which I have likewise given them；
when I recommended the diligent study of the works of our great
predecessors； but I at the same time endeavoured to guard them against an
implicit submission to the authority of any one master； however excellent；
or by a strict imitation of his manner； to preclude ourselves from the
abundance and variety of nature。 I will now add that nature herself is not
to be too closely copied。 There are excellences in the art of painting；
beyond what is commonly called the imitation of nature： and these
excellences I wish to point out。 The students who； having passed through
the initiatory exercises； are more advanced in the art； and who； sure of
their hand； have leisure to exert their understanding； must now be told that
a mere copier of nature can never produce anything great； can never raise
and enlarge the conceptions； or warm the heart of the spectator。
The wish of the genuine painter must be more extensive： instead of
endeavouring to amuse mankind with the minute neatness of his imitations；
he must endeavour to improve them by the grandeur of his ideas； instead
of seeking praise； by deceiving the superficial sense of the spectator； he
must strive for fame； by captivating the imagination。
The principle now laid down； that the perfection of this art does not
consist in mere imitation； is far from being new or singular。 It is； indeed；
supported by the general opinion of the enlightened part of mankind。
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The poets； orators； and rhetoricians of antiquity； are continually enforcing
this position； that all the arts receive their perfection from an ideal beauty；
superior to what is to be found in individual nature。 They are ever
referring to the practice of the painters and sculptors of their times；
particularly Phidias （the favourite artist of antiquity）； to illustrate their
assertions。 As if they could not sufficiently express their admiration of
his genius by what they knew； they have recourse to poetical enthusiasm。
They call it inspiration； a gift from heaven。 The artist is supposed to
have ascended the celestial regions； to furnish his mind with this perfect
idea of beauty。 〃He；〃 says Proclus； 〃who takes for his model such forms as
nature produces； and confines himself to an exact imitation of them； will
never attain to what is perfectly beautiful。 For the works of nature are
full of disproportion； and fall very short of the true standard of beauty。
So that Phidias； when he formed his Jupiter； did not copy any object ever
presents to his sight； but contemplated only that image which
