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othing ought to be introduced that may tend to awaken it from the illusion。
Poussin seemed to think that the style and the language in which such stories are told is not the worse for preserving some relish of the old way of painting which seemed to give a general uniformity to the whole； so that the mind was thrown back into antiquity not only by the subject； but the execution。
If Poussin； in imitation of the ancients； represents Apollo driving his chariot out of the sea by way of representing the sun rising； if he personifies lakes and rivers； it is no ways offensive in him； but seems perfectly of a piece with the general air of the picture。 On the contrary； if the figures which people his pictures had a modern air or countenance； if they appeared like our countrymen； if the draperies were like cloth or silk of our manufacture； if the landscape had the appearance of a modern view； how ridiculous would Apollo appear instead of the sun； an old man or a nymph with an urn instead of a river or lake。
I cannot avoid mentioning here a circumstance in portrait painting which may help to confirm what has been said。
When a portrait is painted in the historical style； as it is neither an exact minute representation of an individual nor completely ideal； every circumstance ought to correspond to this mixture。 The simplicity of the antique air and attitude； however much to be admired； is ridiculous when joined to a figure in a modern dress。 It is not to my purpose to enter into the question at present； whether this mixed style ought to be adopted or not； yet if it is chosen it is necessary it should be complete and all of a piece： the difference of stuffs； for instance； which make the clothing； should be distinguished in the same degree as the head deviates from a general idea。
Without this union； which I have so often recommended； a work can have no marked and determined character； which is the peculiar and constant evidence of genius。 But when this is accomplished to a high degree； it becomes in some sort a rival to that style which we have fixed as the highest。
Thus I have given a sketch of the characters of Rubens and Salvator Rosa； as they appear to me to have the greatest uniformity of mind throughout their whole work。 But we may add to these； all these artists who are at the head of the class； and have had a school of imitators from Michael Angelo down to Watteau。 Upon the whole it appears that setting aside the ornamental style； there are two different paths； either of which a student may take without degrading the dignity of his art。 The first is to combine the higher excellences and embellish them to the greatest advantage。 The other is to carry one of these excellences to the highest degree。 But those who possess neither must be classed with them； who； as Shakespeare says； are men of no mark or likelihood。
I inculcate as frequently as I can your forming yourselves upon great principles and great models。 Your time will be much misspent in every other pursuit。 Small excellences should be viewed； not studied； they ought to be viewed； because nothing ought to escape a painter's observation； but for no other reason。
There is another caution which I wish to give you。 Be as select in those whom you endeavour to please； as in those whom you endeavour to imitate。 Without the love of fame you can never do anything excellent； but by an excessive and undistinguishing thirst after it； you will come to have vulgar views； you will degrade your style； and your taste will be entirely corrupted。 It is certain that the lowest style will be the most popular； as it falls within the compass of ignorance itself； and the vulgar will always be pleased with what is natural in the confined and misunderstood sense of the word。
One would wish that such depravation of taste should be counteracted； with such manly pride as Euripides expressed to the Athenians； who criticised his works； 〃I do not compose；〃 says he； 〃my works in order to be corrected by you； but to instruct you。〃 It is true； to have a right to speak thus； a man must be a Euripides。 However； thus much may be allowed； that when an artist is sure that he is upon firm ground； supported by the authority and practice of his predecessors of the greatest reputation； he may then assume the boldness and intrepidity of genius； at any rate； he must not be tempted out of the right path by any tide of popularity that always accompanies the lower styles of painting。
I mention this； because our exhibitions； that produce such admirable effects by nourishing emulation； and calling out genius； have also a mischievous tendency by seducing the painter to an ambition of pleasing indiscriminately the mixed multitude of people who resort to them。
A DISCOURSE
Delivered to the Students of the Royal Academy on the Distribution of the Prizes； December 10； 1774； by the President。
Gentlemen；When I have taken the liberty of addressing you on the course and order of your studies； I never proposed to enter into a minute detail of the art。 This I have always left to the several professors； who pursue the end of our institution with the highest honour to themselves； and with the greatest advantage to the students。
My purpose in the discourses I have held in the Academy is to lay down certain general ideas； which seem to me proper for the formation of a sound taste； principles necessary to guard the pupils against those errors into which the sanguine temper common at their time of life； has a tendency to lead them； and which have rendered abortive the hopes of so many successions of promising young men in all parts of Europe。
I wish； also； to intercept and suppress those prejudices which particularly prevail when the mechanism of painting is come to its perfection； and which when they do prevail are certain to prevail to the utter destruction of the higher and more valuable parts of this literate and liberal profession。
These two have been my principal purposes； they are still as much my concern as ever； and if I repeat my own ideas on the subject； you who know how fast mistake and prejudice； when neglected； gain ground upon truth and reason； will easily excuse me。 I only attempt to set the same thing in the greatest variety of lights。
The subject of this discourse will be imitation； as far as a painter is concerned in it。 By imitation I do not mean imitation in its largest sense； but simply the following of other masters； and the advantage to be drawn from the study of their works。
Those who have undertaken to write on our art； and have represented it as a kind of inspiration； as a gift bestowed upon peculiar favourites at their birth； seem to ensure a much more favourable disposition from their readers； and have a much more captivating and liberal air； than he who goes about to examine； coldly； whether there are any means by which this art may be acquired； how our mind may be strengthened and expanded； and what guides will show the way to eminence。
It is very natural for those who are unacquainted with the cause of anything extraordinary to be astonished at the effect； and to consider it as a kind of magic。 They； who have never observed the gradation by which art is acquired； who see only what is the full result of long labour and application of an infinite number； and infinite variety of acts； are apt to conclude from their entire inability to do the same at once； that it is not only inaccessible to themselves； but can be done by those only who have some gift of the nature of inspiration bestowed upon them。
The travellers into the East tell us that when the ignorant inhabitants of these countries are asked concerning the ruins of stately edifices yet remaining amongst them； the melancholy monuments of their former grandeur and long…lost science； they always answer that they were built by magicians。 The untaught mind finds a vast gulf between its own powers and these works of complicated art which it is utterly unable to fathom。 And it supposes that such a void can be passed only by supernatural powers。
And； as for artists themselves； it is by no means their interest to undeceive such judges； however conscious they may be of the very natural means by which the extraordinary powers were acquired； our art being intrinsically imitative； rejects this idea of inspiration more； perhaps； than any other。
It is to avoid this plain confession of truth； as it should seem； that this imitation of mastersindeed； almost all imitation which implies a more regular and progressive method of attaining the ends of paintinghas ever been particularly inveighed against with great keenness； both by ancient and modern writers。
To derive all from native power； to owe nothing to another； is the praise which men； who do not much think what they are saying； bestow sometimes upon others； and sometimes on themselves； and their imaginary dignity is naturally heightened by a supercilious censure of the low； the barren； the grovelling； the servile imitator。 It would be no wonder if a student； frightened by these terrors and disgraceful epithets； with which the poor imitators are so often loaded； should let fall his pencil in mere despair； conscious how much he has been indeb