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d effects。
In every school； whether Venetian； French； or Dutch； he will find either ingenious compositions； extraordinary effects； some peculiar expressions； or some mechanical excellence； well worthy his attention and； in some measure； of his imitation； even in the lower class of the French painters； great beauties are often found united with great defects。
Though Coypel wanted a simplicity of taste； and mistook a presumptuous and assuming air for what is grand and majestic； yet he frequently has good sense and judgment in his manner of telling his stories； great skill in his compositions； and is not without a considerable power of expressing the passions； The modern affectation of grace in his works； as well as in those of Bouche and Watteau； may be said to be separated by a very thin partition from the more simple and pure grace of Correggio and Parmigiano。
Amongst the Dutch painters； the correct； firm； and determined pencil； which was employed by Bamboccio and Jan Miel on vulgar and mean subjects； might without any change be employed on the highest； to which； indeed； it seems more properly to belong。 The greatest style； if that style is confined to small figures such as Poussin generally painted； would receive an additional grace by the elegance and precision of pencil so admirable in the works of Teniers。
Though this school more particularly excelled in the mechanism of painting； yet there are many who have shown great abilities in expressing what must be ranked above mechanical excellences。
In the works of Frank Hals the portrait painter may observe the composition of a face； the features well put together as the painters express it； from whence proceeds that strong marked character of individual nature which is so remarkable in his portraits； and is not to be found in an equal degree in any other painter。 If he had joined to this most difficult part of the art a patience in finishing what he had so correctly planned； he might justly have claimed the place which Vandyke； all things considered； so justly holds as the first of portrait painters。
Others of the same school have shown great power in expressing the character and passions of those vulgar people which are the subjects of their study and attention。 Amongst those； Jean Stein seems to be one of the most diligent and accurate observers of what passed in those scenes which he frequented； and which were to him an academy。 I can easily imagine that if this extraordinary man had had the good fortune to have been born in Italy instead of Holland； had he lived in Rome instead of Leyden； and had been blessed with Michael Angelo and Raffaelle for his masters instead of Brower and Van Gowen； that the same sagacity and penetration which distinguished so accurately the different characters and expression in his vulgar figures； would； when exerted in the selection and imitation of what was great and elevated in nature； have been equally successful； and his name would have been now ranged with the great pillars and supporters of our art。
Men who； although thus bound down by the almost invincible powers of early habits； have still exerted extraordinary abilities within their narrow and confined circle； and have； from the natural vigour of their mind； given such an interesting expression； such force and energy to their works； though they cannot be recommended to be exactly imitated； may yet invite an artist to endeavour to transfer； by a kind of parody； those excellences to his own works。 Whoever has acquired the power of making this use of the Flemish； Venetian； and French schools is a real genius； and has sources of knowledge open to him which were wanting to the great artists who lived in the great age of painting。
To find excellences however dispersed； to discover beauties however concealed by the multitude of defects with which they are surrounded； can be the work only of him who； having a mind always alive to his art； has extended his views to all ages and to all schools； and has acquired from that comprehensive mass which he has thus gathered to himself； a well digested and perfect idea of his art； to which everything is referred。 Like a sovereign judge and arbiter of art； he is possessed of that presiding power which separates and attracts every excellence from every school； selects both from what is great and what is little； brings home knowledge from the east and from the west； making the universe tributary towards furnishing his mind and enriching his works with originality and variety of inventions。
Thus I have ventured to give my opinion of what appears to me the true and only method by which an artist makes himself master of his profession； which I hold ought to be one continued course of imitation； that is not to cease but with our lives。
Those who； either from their own engagements and hurry of business； or from indolence； or from conceit and vanity； have neglected looking out of themselves； as far as my experience and observation reaches； have from that time not only ceased to advance and improve in their performance； but have gone backward。 They may be compared to men who have lived upon their principal till they are reduced to beggary and left without resources。
I can recommend nothing better； therefore； than that you endeavour to infuse into your works what you learn from the contemplation of the works of others。 To recommend this has the appearance of needless and superfluous advice； but it has fallen within my own knowledge that artists； though they are not wanting in a sincere love for their art； though they have great pleasure in seeing good pictures； and are well skilled to distinguish what is excellent or defective in them； yet go on in their own manner； without any endeavour to give a little of those beauties which they admire in others； to their own works。 It is difficult to conceive how the present Italian painters； who live in the midst of the treasures of art； should be contented with their own style。 They proceed in their common…place inventions； and never think it worth while to visit the works of those great artists with which they are surrounded。
I remember several years ago to have conversed at Rome with an artist of great fame throughout Europe； he was not without a considerable degree of abilities； but those abilities were by no means equal to his own opinion of them。 From the reputation he had acquired he too fondly concluded that he stood in the same rank； when compared to his predecessors； as he held with regard to his miserable contemporary rivals。
In conversation about some particulars of the works of Raffaelle； he seemed to have； or to affect to have； a very obscure memory of them。 He told me that he had not set his foot in the Vatican for fifteen years together； that indeed he had been in treaty to copy a capital picture of Raffaelle； but that the business had gone off； however； if the agreement had held； his copy would have greatly exceeded the original。 The merit of this artist； however great we may suppose it； I am sure would have been far greater； and his presumption would have been far less if he had visited the Vatican； as in reason he ought to have done； once at least every month of his life。
I address myself； gentlemen； to you who have made some progress in the art； and are to be for the future under the guidance of your own judgment and discretion
I consider you as arrived to that period when you have a right to think for yourselves； and to presume that every man is fallible； to study the masters with a suspicion that great men are not always exempt from great faults； to criticise； compare； and rank their works in your own estimation； as they approach to or recede from that standard of perfection which you have formed in your own mind； but which those masters themselves； it must be remembered； have taught you to make； and which you will cease to make with correctness when you cease to study them。 It is their excellences which have taught you their defects。
I would wish you to forget where you are； and who it is that speaks to you。 I only direct you to higher models and better advisers。 We can teach you here but very little； you are henceforth to be your own teachers。 Do this justice； however； to the English Academy； to bear in mind； that in this place you contracted no narrow habits； no false ideas； nothing that could lead you to the imitation of any living master； who may be the fashionable darling of the day。 As you have not been taught to flatter us； do not learn to flatter yourselves。 We have endeavoured to lead you to the admiration of nothing but what is truly admirable。 If you choose inferior patterns； or if you make your own FORMER works； your patterns for your LATTER； it is your own fault。
The purpose of this discourse； and； indeed； of most of my others； is to caution you against that false opinion； but too prevalent amongst artists； of the imaginary power of native genius； and its sufficiency in great works。 This opinion； according to the temper of mind it meets with； almost always produces； either a vain confidence； or a sluggish despair； both equally fatal to all proficiency。
Study； therefore； the great works of the great masters for ever。 Study as nearly