The fountain copious feeds the stream below, But artful channels teach it how to flow; Collect the wandering waters as they glide, 80 of error and prejudice, or inconsistent with truth and experience.* To assert, that labour, however persevering or well directed, is adequate to the attainment of excellence in the more refined pursuits of life, may, possibly, be an encouragement to patient industry, but we should consider that it is also a delusion to plodding dulness; and becomes the means of degrading many a prosperous trader and skil ful mechanic, to a vulgar versifier or a wretched artist. The works of Taste, though objects of the highest gratification, are not articles of the first necessity; and there is little danger to be apprehended from the most candid avowal of the superior qualities which are required to produce them. True genius will never be discouraged by difficulties, and if all those should be deterred from the pursuit who bring to it only the laborious patience of the drudge, society will experience no injury, and the arts will benefit by their exclusion. * It is curious to observe, how often those who dispute the influence of genius, and maintain the general equality of the human powers, are led inadvertently to bear evidence against their own cause. Thus, Reynolds, Yet not on genius only, he relies, Who starts accomplish'd to achieve the prize; Derive no lustre from the vain expense, So, genius without judgment still we find And scorn'd alike, they rouse the critic's ire, Who fume all vapour, or who flame all fire. 85 90 speaking of Carlo Maratti, says, "It is true, there is nothing very captivating in Carlo Maratti, but this proceeded from a want which cannot be completely supplied, that is, want of strength of parts. In this certainly men are not equal;" and again, "Carlo certainly, by diligence, made the most of what he had." These are no small admissions from him who declares that "In the arts nothing is denied to well directed labour," who says that "If you have but moderate abilities, industry will supply their deficiency;" and who asserts, that " assiduity unabated by difficulty, and a disposition eagerly directed to the object of its pursuit, will produce effects similar to those which some call the result of natural powers." Helvetius also, the most determined advocate on the same side, admits that education cannot make every man a man of genius: "A quelque degré de perfection qu'on portât l'éducation, qu'on n'imagine cependant pas qu'on fit des gens de genie de tous les hommes à portée de la recevoir." HELVETIUS, De l'Homme. Judgment, supreme o'er all the powers of thought! By penetration from experience caught, Clear prism of mind, where sage reflection views 95 101 To Judgment, then, let Ardour yield the rein, 105 Line 105. To Judgment, then, let Ardour yield the rein.]—In painting, perhaps, more than in any other art, our success depends upon the first principles which we adopt, and the first studies to which we are directed: yet there is no pursuit in which the student appears to be more negligently superintended Years of the most valuable period of life are often lost in mistaken application to improper objects, or lavished under instructors of inferior capacity. With few Who sets out wrong, with hurtful haste proceeds, Of schools and styles, the wilder'd student strays; 110 opportunities of ascertaining his true course, or strengthening his judgment by contemplating at leisure the best productions of his art, the young painter either hesitates with all the indecision and inactivity of one who commences his journey without knowing his road, or commits himself to the discretion of a guide, who perhaps, after he has advanced a few steps, is but an obstruction in his way, and interrupts the finest prospects from his view. Painting is a craft and mystery not to be acquired by apprenticeship. Most of the eminent painters of the present day were self-taught, and the ablest masters of the past will not be found amongst those who studied in the celebrated schools of Italy, but amongst those who formed them. It excites the indignation as well as the regret of Taste, to contemplate Reynolds drudging in the manufactory of Hudson. An eagle chained to the perch of a hen-roost!! The mechanical aids which a master can communicate are of little importance. Sound principles are to be acquired by the study of fine works only, and the contemplation of nature. What you cannot learn from his pictures, the painter will in vain endeavour to impart. A facility of managing the pencil is soon acquired by practice; instruction on this head is a go-cart to a child; and he who cannot learn to walk In error fixes-fluctuates in doubt, Forgets his object, and mistakes his route: without such assistance, may be assured that his genius is of a ricketty constitution, and deficient in the vigour necessary for the journey he would undertake. Reynolds says, "It is of no use to prescribe to those who have no talents, and those who have will find methods for themselves." The more refined operations of the pencil, the manner in which it acts as the dextrous agent of the eye and the mind, will vary beyond the control of instruction, according to the experience, the enterprize, and the taste of him that holds it. In art nothing can be justly termed knowledge, but that which we have made our own by observation and experiment. The candid painter, who only is worthy of giving instruction, will confess, that he has but little to impart.* He * If the master has himself a pure taste, and will conscientiously take the time and trouble which are necessary to purify and improve the taste of his pupil, he may indeed render him the most essential service. Let him be carefully taught to see, and he will soon learn to handle; but it is to be feared that this is not the usual process of tuition. The student is made useful in various ways not conducive to his improvement, and is too often treated as a drudge rather than a disciple. |