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of the works of the ancient sculptors； who； being indefatigable in the
school of nature； have left models of that perfect form behind them； which
an artist would prefer as supremely beautiful； who had spent his whole life
in that single contemplation。 But if industry carried them thus far； may
not you also hope for the same reward from the same labour？ We have
the same school opened to us that was opened to them； for nature denies
her instructions to none who desire to become her pupils。
To the principle I have laid down； that the idea of beauty in each
species of beings is invariably one； it may be objected that in every
particular species there are various central forms； which are separate and
distinct from each other； and yet are undeniably beautiful； that in the
human figure； for instance； the beauty of the Hercules is one； of the
gladiator another； of the Apollo another； which makes so many different
ideas of beauty。
It is true； indeed； that these figures are each perfect in their kind；
though of different characters and proportions； but still none of them is the
representation of an individual； but of a class。 And as there is one
general form； which； as I have said； belongs to the human kind at large； so
in each of these classes there is one common idea and central form； which
is the abstract of the various individual forms belonging to that class。
Thus； though the forms of childhood and age differ exceedingly； there is a
common form in childhood； and a common form in age；which is the
more perfect； as it is more remote from all peculiarities。 But I must add
further； that though the most perfect forms of each of the general divisions
of the human figure are ideal； and superior to any individual form of that
class； yet the highest perfection of the human figure is not to be found in
any one of them。 It is not in the Hercules； nor in the gladiator； nor in the
Apollo； but in that form which is taken from them all； and which partakes
equally of the activity of the gladiator； of the delicacy of the Apollo； and
of the muscular strength of the Hercules。 For perfect beauty in any
species must combine all the characters which are beautiful in that species。
It cannot consist in any one to the exclusion of the rest： no one； therefore；
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must be predominant； that no one may be deficient。
The knowledge of these different characters； and the power of
separating and distinguishing them； is undoubtedly necessary to the
painter； who is to vary his compositions with figures of various forms and
proportions； though he is never to lose sight of the general idea of
perfection in each kind。
There is； likewise； a kind of symmetry or proportion； which may
properly be said to belong to deformity。 A figure lean or corpulent； tall or
short； though deviating from beauty； may still have a certain union of the
various parts； which may contribute to make them； on the whole； not
unpleasing。 When the artist has by diligent attention acquired a clear and
distinct idea of beauty and symmetry； when he has reduced the variety of
nature to the abstract idea； his next task will be to become acquainted with
the genuine habits of nature； as distinguished from those of fashion。 For
in the same manner； and on the same principles； as he has acquired the
knowledge of the real forms of nature； distinct from accidental deformity；
he must endeavour to separate simple chaste nature from those
adventitious； those affected and forced airs or actions； with which she is
loaded by modern education。
Perhaps I cannot better explain what I mean than by reminding you of
what was taught us by the Professor of Anatomy； in respect to the natural
position and movement of the feet。 He observed that the fashion of
turning； them outwards was contrary to the intent of nature； as might be
seen from the structure of the bones； and from the weakness that
proceeded from that manner of standing。 To this we may add the erect
position of the head； the projection of the chest； the walking with straight
knees； and many such actions； which are merely the result of fashion； and
what nature never warranted； as we are sure that we have been taught them
when children。
I have mentioned but a few of those instances； in which vanity or
caprice have contrived to distort and disfigure the human form； your own
recollection will add to these a thousand more of ill… understood methods；
that have been practised to disguise nature； among our dancing…masters；
hair…dressers； and tailors； in their various schools of deformity。
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However the mechanic and ornamental arts may sacrifice to fashion；
she must be entirely excluded from the art of painting； the painter must
never mistake this capricious changeling for the genuine offspring of
nature； he must divest himself of all prejudices in favour of his age or
country； he must disregard all local and temporary ornaments； and look
only on those general habits that are everywhere and always the same。
He addresses his works to the people of every country and every age； he
calls upon posterity to be his spectators； and says with Zeuxis； In
aeternitatem pingo。
The neglect of separating modern fashions from the habits of nature；
leads to that ridiculous style which has been practised by some painters
who have given to Grecian heroes the airs and graces practised in the court
of Louis XIV。； an absurdity almost as great as it would have been to have
dressed them after the fashion of that court。
To avoid this error； however； and to retain the true simplicity of nature；
is a task more difficult than at first sight it may appear。 The prejudices in
favour of the fashions and customs that we have been used to； and which
are justly called a second nature； make it too often difficult to distinguish
that which is natural from that which is the result of education； they
frequently even give a predilection in favour of the artificial mode； and
almost every one is apt to be guided by those local prejudices who has not
chastised his mind； and regulated the instability of his affections； by the
eternal invariable idea of nature。
Here； then； as before； we must have recourse to the ancients as
instructors。 It is from a careful study of their works that you will be
enabled to attain to the real simplicity of nature； they will suggest many
observations； which would probably escape you； if your study were
confined to nature alone。 And； indeed； I cannot help suspecting； that in
this instance the ancients had an easier task than the moderns。 They had；
probably； little or nothing to unlearn； as their manners were nearly
approaching to this desirable simplicity； while the modern artist； before he
can see the truth of things； is obliged to remove a veil； with which the
fashion of the times has thought proper to cover her。
Having gone thus far in our investigation of the great style in painting；
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if we now should suppose that the artist has formed the true idea of beauty；
which enables him to give his works a correct and perfect design； if we
should suppose also that he has acquired a knowledge of the unadulterated
habits of nature； which gives him simplicity； the rest of his talk is； perhaps；
less than is generally imagined。 Beauty and simplicity have so great a
share in the composition of a great style； that he who has acquired them
has little else to learn。 It must not； indeed； be