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great style； that he who has acquired them has little else to learn。 It must not； indeed； be forgot that there is a nobleness of conception； which goes beyond anything in the mere exhibition； even of perfect form； there is an art of animating and dignifying the figures with intellectual grandeur； of impressing the appearance of philosophic wisdom or heroic virtue。 This can only be acquired by him that enlarges the sphere of his understanding by a variety of knowledge； and warms his imagination with the best productions of ancient and modern poetry。
A hand thus exercised； and a mind thus instructed； will bring the art to a higher degree of excellence than； perhaps； it has hitherto attained in this country。 Such a student will disdain the humbler walks of painting； which； however profitable； can never assure him a permanent reputation。 He will leave the meaner artist servilely to suppose that those are the best pictures which are most likely to deceive the spectator。 He will permit the lower painter； like the florist or collector of shells； to exhibit the minute discriminations which distinguish one object of the same species from another； while he； like the philosopher； will consider nature in the abstract； and represent in every one of his figures the character of its species。
If deceiving the eye were the only business of the art； there is no doubt； indeed； but the minute painter would be more apt to succeed： but it is not the eye； it is the mind； which the painter of genius desires to address； nor will he waste a moment upon these smaller objects； which only serve to catch the sense； to divide the attention； and to counteract his great design of speaking to the heart。
This is the ambition I could wish to excite in your minds； and the object I have had in my view； throughout this discourse； is that one great idea which gives to painting its true dignity； that entitles it to the name of a Liberal Art； and ranks it as a sister of poetry。
It may possibly have happened to many young students whose application was sufficient to overcome all difficulties； and whose minds were capable of embracing the most extensive views； that they have； by a wrong direction originally given； spent their lives in the meaner walks of painting； without ever knowing there was a nobler to pursue。 〃Albert Durer；〃 as Vasari has justly remarked； 〃would probably have been one of the first painters of his age （and he lived in an era of great artists） had he been initiated into those great principles of the art which were so well understood and practised by his contemporaries in Italy。 But unluckily； having never seen or heard of any other manner； he considered his own； without doubt； as perfect。〃
As for the various departments of painting； which do not presume to make such high pretensions； they are many。 None of them are without their merit； though none enter into competition with this great universal presiding idea of the art。 The painters who have applied themselves more particularly to low and vulgar characters； and who express with precision the various shades of passion； as they are exhibited by vulgar minds （such as we see in the works of Hogarth） deserve great praise； but as their genius has been employed on low and confined subjects； the praise that we give must be as limited as its object。 The merrymaking or quarrelling of the Boors of Teniers； the same sort of productions of Brouwer； or Ostade； are excellent in their kind； and the excellence and its praise will be in proportion； as； in those limited subjects and peculiar forms； they introduce more or less of the expression of those passions； as they appear in general and more enlarged nature。 This principle may be applied to the battle pieces of Bourgognone； the French gallantries of Watteau； and even beyond the exhibition of animal life； to the landscapes of Claude Lorraine； and the sea… views of Vandervelde。 All these painters have； in general； the same right； in different degrees； to the name of a painter； which a satirist； an epigrammatist； a sonnetteer； a writer of pastorals； or descriptive poetry； has to that of a poet。
In the same rank； and； perhaps； of not so great merit； is the cold painter of portraits。 But his correct and just imitation of his object has its merit。 Even the painter of still life； whose highest ambition is to give a minute representation of every part of those low objects； which he sets before him； deserves praise in proportion to his attainment； because no part of this excellent art； so much the ornament of polished life； is destitute of value and use。 These； however； are by no means the views to which the mind of the student ought to be PRIMARILY directed。 By aiming at better things； if from particular inclination； or from the taste of the time and place he lives in； or from necessity； or from failure in the highest attempts； he is obliged to descend lower； he will bring into the lower sphere of art a grandeur of composition and character that will raise and ennoble his works far above their natural rank。
A man is not weak； though he may not be able to wield the club of Hercules； nor does a man always practise that which he esteems the beat； but does that which he can best do。 In moderate attempts； there are many walks open to the artist。 But as the idea of beauty is of necessity but one； so there can be but one great mode of painting； the leading principle of which I have endeavoured to explain。
I should be sorry if what is here recommended should be at all understood to countenance a careless or indetermined manner of painting。 For though the painter is to overlook the accidental discriminations of nature； he is to pronounce distinctly； and with precision； the general forms of things。 A firm and determined outline is one of the characteristics of the great style in painting； and； let me add； that he who possesses the knowledge of the exact form； that every part of nature ought to have； will be fond of expressing that knowledge with correctness and precision in all his works。
To conclude： I have endeavoured to reduce the idea of beauty to general principles。 And I had the pleasure to observe that the professor of painting proceeded in the same method； when he showed you that the artifice of contrast was founded but on one principle。 And I am convinced that this is the only means of advancing science； of clearing the mind from a confused heap of contradictory observations； that do but perplex and puzzle the student when he compares them； or misguide him if he gives himself up to their authority； but bringing them under one general head can alone give rest and satisfaction to an inquisitive mind。
A DISCOURSE
Delivered to the Students of the Royal Academy on the Distribution of the Prizes； December 10； 1771； by the President。
Gentlemen；The value and rank of every art is in proportion to the mental labour employed in it； or the mental pleasure produced by it。 As this principle is observed or neglected； our profession becomes either a liberal art or a mechanical trade。 In the hands of one man it makes the highest pretensions； as it is addressed to the noblest faculties； In those of another it is reduced to a mere matter of ornament； and the painter has but the humble province of furnishing our apartments with elegance。
This exertion of mind； which is the only circumstance that truly ennobles our art； makes the great distinction between the Roman and Venetian schools。 I have formerly observed that perfect form is produced by leaving out particularities； and retaining only general ideas。 I shall now endeavour to show that this principle； which I have proved to be metaphysically just； extends itself to every part of the art； that it gives what is called the grand style to invention； to composition； to expression； and even to colouring and drapery。
Invention in painting does not imply the invention of the subject； for that is commonly supplied by the poet or historian。 With respect to the choice； no subject can be proper that is not generally interesting。 It ought to be either some eminent instance of heroic action or heroic suffering。 There must be something either in the action or in the object in which men are universally concerned； and which powerfully strikes upon the public sympathy。
Strictly speaking； indeed； no subject can be of universal； hardly can it be of general concern： but there are events and characters so popularly known in those countries where our art is in request； that they may be considered as sufficiently general for all our purposes。 Such are the great events of Greek and Roman fable and history； which early education and the usual course of reading have made familiar and interesting to all Europe； without being degraded by the vulgarism of ordinary life in any country。 Such； too； are the capital subjects of Scripture history； which； besides their general notoriety； become venerable by their connection with our religion。
As it is required that the subject selected should be a general one； it is no less necessary that it should be kept unembarrassed with whatever may any way serve to divide the attention of the spectator。 Whenever a story is related； every man forms a picture in