Wecanteachyouherebutverylittle;youarehenceforthtobeyourownteachers。Dothisjustice,however,totheEnglishAcademy,tobearinmind,thatinthisplaceyoucontractednonarrowhabits,nofalseideas,nothingthatcouldleadyoutotheimitationofanylivingmaster,whomaybethefashionabledarlingoftheday。Asyouhavenotbeentaughttoflatterus,donotlearntoflatteryourselves。Wehaveendeavouredtoleadyoutotheadmirationofnothingbutwhatistrulyadmirable。Ifyouchooseinferiorpatterns,orifyoumakeyourownFORMERworks,yourpatternsforyourLATTER,itisyourownfault。
Thepurposeofthisdiscourse,and,indeed,ofmostofmyothers,istocautionyouagainstthatfalseopinion,buttooprevalentamongstartists,oftheimaginarypowerofnativegenius,anditssufficiencyingreatworks。Thisopinion,accordingtothetemperofminditmeetswith,almostalwaysproduces,eitheravainconfidence,orasluggishdespair,bothequallyfataltoallproficiency。
Study,therefore,thegreatworksofthegreatmastersforever。
Studyasnearlyasyoucan,intheorder,inthemanner,ontheprinciples,onwhichtheystudied。Studynatureattentively,butalwayswiththosemastersinyourcompany;considerthemasmodelswhichyouaretoimitate,andatthesametimeasrivalswhichyouaretocombat。
ADISCOURSE
DeliveredtotheStudentsoftheRoyalAcademyontheDistributionofthePrizes,December10th,1776,bythePresident。
Gentlemen,——Ithasbeenmyuniformendeavour,sinceIfirstaddressedyoufromthisplace,toimpressyoustronglywithonerulingidea。Iwishedyoutobepersuaded,thatsuccessinyourartdependsalmostentirelyonyourownindustry;buttheindustrywhichIprincipallyrecommended,isnottheindustryoftheHANDS,butoftheMIND。
Asourartisnotadivinegift,soneitherisitamechanicaltrade。Itsfoundationsarelaidinsolidscience。Andpractice,thoughessentialtoperfection,canneverattainthattowhichitaims,unlessitworksunderthedirectionofprinciple。
Somewritersuponartcarrythispointtoofar,andsupposethatsuchabodyofuniversalandprofoundlearningisrequisite,thattheveryenumerationofitskindisenoughtofrightenabeginner。
Vitruvius,aftergoingthroughthemanyaccomplishmentsofnature,andthemanyacquirementsoflearning,necessarytoanarchitect,proceedswithgreatgravitytoassertthatheoughttobewellskilledinthecivillaw,thathemaynotbecheatedinthetitleofthegroundhebuildson。
Butwithoutsuchexaggeration,wemaygosofarastoassert,thatapainterstandsinneedofmoreknowledgethanistobepickedoffhispallet,orcollectedbylookingonhismodel,whetheritbeinlifeorinpicture。Hecanneverbeagreatartistwhoisgrosslyilliterate。
Everymanwhosebusinessisdescriptionoughttobetolerablyconversantwiththepoetsinsomelanguageorother,thathemayimbibeapoeticalspiritandenlargehisstockofideas。Heoughttoacquireahabitofcomparinganddivestinghisnotions。Heoughtnottobewhollyunacquaintedwiththatpartofphilosophywhichgiveshimaninsightintohumannature,andrelatestothemanners,characters,passions,andaffections。Heoughttoknowsomethingconcerningthemind,aswellasagreatdealconcerningthebodyofman。
Forthispurpose,itisnotnecessarythatheshouldgointosuchacompassofreading,asmust,bydistractinghisattention,disqualifyhimforthepracticalpartofhisprofession,andmakehimsinktheperformerinthecritic。Reading,ifitcanbemadethefavouriterecreationofhisleisurehours,willimproveandenlargehismindwithoutretardinghisactualindustry。
Whatsuchpartialanddesultoryreadingcannotafford,maybesuppliedbytheconversationoflearnedandingeniousmen,whichisthebestofallsubstitutesforthosewhohavenotthemeansoropportunitiesofdeepstudy。Therearemanysuchmeninthisage;
andtheywillbepleasedwithcommunicatingtheirideastoartists,whentheyseethemcuriousanddocile,iftheyaretreatedwiththatrespectanddeferencewhichissojustlytheirdue。Intosuchsociety,youngartists,iftheymakeitthepointoftheirambition,willbydegreesbeadmitted。There,withoutformalteaching,theywillinsensiblycometofeelandreasonlikethosetheylivewith,andfindarationalandsystematictasteimperceptiblyformedintheirminds,whichtheywillknowhowtoreducetoastandard,byapplyinggeneraltruthtotheirownpurposes,betterperhapsthanthosetowhomtheyowedtheoriginalsentiment。
Ofthesestudiesandthisconversation,thedesiredandlegitimateoffspringisapowerofdistinguishingrightfromwrong,whichpowerappliedtoworksofartisdenominatedtaste。Letmethen,withoutfurtherintroduction,enteruponanexaminationwhethertastebesofarbeyondourreachastobeunattainablebycare,orbesoveryvagueandcapriciousthatnocareoughttobeemployedaboutit。
Ithasbeenthefateofartstobeenvelopedinmysteriousandincomprehensiblelanguage,asifitwasthoughtnecessarythateventhetermsshouldcorrespondtotheideaentertainedoftheinstabilityanduncertaintyoftheruleswhichtheyexpressed。
Tospeakofgeniusandtasteasanywayconnectedwithreasonorcommonsense,wouldbe,intheopinionofsometoweringtalkers,tospeaklikeamanwhopossessedneither,whohadneverfeltthatenthusiasm,or,tousetheirowninflatedlanguage,wasneverwarmedbythatPrometheanfire,whichanimatesthecanvasandvivifiesthemarble。
If,inordertobeintelligible,Iappeartodegradeartbybringingherdownfromhervisionarysituationintheclouds,itisonlytogiveheramoresolidmansionupontheearth。Itisnecessarythatatsometimeorotherweshouldseethingsastheyreallyare,andnotimposeonourselvesbythatfalsemagnitudewithwhichobjectsappearwhenviewedindistinctlyasthroughamist。
Wewillallowapoettoexpresshismeaning,whenhismeaningisnotwellknowntohimself,withacertaindegreeofobscurity,asitisonesourceofthesublime。Butwhen,inplainprose,wegravelytalkofcourtingthemuseinshadybowers,waitingthecallandinspirationofgenius,findingoutwhereheinhabits,andwhereheistobeinvokedwiththegreatestsuccess;ofattendingtotimesandseasonswhentheimaginationshootswiththegreatestvigour,whetheratthesummersolsticeortheequinox,sagaciouslyobservinghowmuchthewildfreedomandlibertyofimaginationiscrampedbyattentiontoestablishedrules,andhowthissameimaginationbeginstogrowdiminadvancedage,smotheredanddeadenedbytoomuchjudgment。Whenwetalksuchlanguage,orentertainsuchsentimentsasthese,wegenerallyrestcontentedwithmerewords,oratbestentertainnotionsnotonlygroundless,butpernicious。
Ifallthismeanswhatitisverypossiblewasoriginallyintendedonlytobemeant,thatinordertocultivateanart,amansecludeshimselffromthecommerceoftheworld,andretiresintothecountryatparticularseasons;orthatatonetimeoftheyearhisbodyisinbetterhealth,andconsequentlyhismindfitterforthebusinessofhardthinkingthanatanothertime;orthatthemindmaybefatiguedandgrowconfusedbylongandunremittedapplication;thisIcanunderstand。Icanlikewisebelievethatamaneminentwhenyoungforpossessingpoeticalimagination,may,fromhavingtakenanotherroad,soneglectitscultivationastoshowlessofitspowersinhislatterlife。ButIampersuadedthatscarceapoetistobefound,fromHomerdowntoDryden,whopreservedasoundmindinasoundbody,andcontinuedpractisinghisprofessiontotheverylast,whoselaterworksarenotasrepletewiththefireofimaginationasthosewhichwereproducedinhismoreyouthfuldays。
Tounderstandliterallythesemetaphorsorideasexpressedinpoeticallanguage,seemstobeequallyabsurdastoconcludethatbecausepainterssometimesrepresentpoetswritingfromthedictatesofalittlewingedboyorgenius,thatthissamegeniusdidreallyinformhiminawhisperwhathewastowrite,andthatheishimselfbutameremachine,unconsciousoftheoperationsofhisownmind。
Opinionsgenerallyreceivedandfloatingintheworld,whethertrueorfalse,wenaturallyadoptandmakeourown;theymaybeconsideredasakindofinheritancetowhichwesucceedandaretenantsforlife,andwhichweleavetoourposterityverynearintheconditioninwhichwereceivedit;notmuchbeinginanyoneman’spowereithertoimpairorimproveit。
Thegreatestpartoftheseopinions,likecurrentcoininitscirculation,weareobligedtotakewithoutweighingorexamining;
butbythisinevitableinattention,manyadulteratedpiecesarereceived,which,whenweseriouslyestimateourwealth,wemustthrowaway。Sothecollectorofpopularopinions,whenheembodieshisknowledge,andformsasystem,mustseparatethosewhicharetruefromthosewhichareonlyplausible。Butitbecomesmorepeculiarlyadutytotheprofessorsofartnottoletanyopinionsrelatingtothatartpassunexamined。Thecautionandcircumspectionrequiredinsuchexaminationweshallpresentlyhaveanopportunityofexplaining。
Geniusandtaste,intheircommonacceptation,appeartobeverynearlyrelated;thedifferenceliesonlyinthis,thatgeniushassuperaddedtoitahabitorpowerofexecution。Orwemaysay,thattaste,whenthispowerisadded,changesitsname,andiscalledgenius。Theyboth,inthepopularopinion,pretendtoanentireexemptionfromtherestraintofrules。Itissupposedthattheirpowersareintuitive;thatunderthenameofgeniusgreatworksareproduced,andunderthenameoftasteanexactjudgmentisgiven,withoutourknowingwhy,andwithoutbeingundertheleastobligationtoreason,precept,orexperience。
Onecanscarcestatetheseopinionswithoutexposingtheirabsurdity,yettheyareconstantlyinthemouthsofmen,andparticularlyofartists。Theywhohavethoughtseriouslyonthissubject,donotcarrythepointsofar;yetIampersuaded,thatevenamongthosefewwhomaybecalledthinkers,theprevalentopiniongiveslessthanitoughttothepowersofreason;andconsiderstheprinciplesoftaste,whichgivealltheirauthoritytotherulesofart,asmorefluctuating,andashavinglesssolidfoundationsthanweshallfind,uponexamination,theyreallyhave。
Thecommonsaying,thattastesarenottobedisputed,owesitsinfluence,anditsgeneralreception,tothesameerrorwhichleadsustoimagineitoftoohighoriginaltosubmittotheauthorityofanearthlytribunal。Itwilllikewisecorrespondwiththenotionsofthosewhoconsideritasamerephantomoftheimagination,sodevoidofsubstanceastoeludeallcriticism。
Weoftenappeartodifferinsentimentsfromeachother,merelyfromtheinaccuracyofterms,aswearenotobligedtospeakalwayswithcriticalexactness。Somethingofthistoomayarisefromwantofwordsinthelanguagetoexpressthemorenicediscriminationswhichadeepinvestigationdiscovers。Agreatdeal,however,ofthisdifferencevanisheswheneachopinionistolerablyexplainedandunderstoodbyconstancyandprecisionintheuseofterms。
Weapplythetermtastetothatactofthemindbywhichwelikeordislike,whateverbethesubject。Ourjudgmentuponanairynothing,afancywhichhasnofoundation,iscalledbythesamenamewhichwegivetoourdeterminationconcerningthosetruthswhichrefertothemostgeneralandmostunalterableprinciplesofhumannature,toworkswhichareonlytobeproducedbythegreatesteffortsofthehumanunderstanding。Howeverinconvenientthismaybe,weareobligedtotakewordsaswefindthem;allwecandoistodistinguishthethingstowhichtheyareapplied。
Wemayletpassthosethingswhichareatoncesubjectsoftasteandsense,andwhichhavingasmuchcertaintyasthesensesthemselves,givenooccasiontoinquiryordispute。Thenaturalappetiteortasteofthehumanmindisfortruth;whetherthattruthresultsfromtherealagreementorequalityoforiginalideasamongthemselves;fromtheagreementoftherepresentationofanyobjectwiththethingrepresented;orfromthecorrespondenceoftheseveralpartsofanyarrangementwitheachother。Itistheverysametastewhichrelishesademonstrationingeometry,thatispleasedwiththeresemblanceofapicturetoanoriginal,andtouchedwiththeharmonyofmusic。
Allthesehaveunalterableandfixedfoundationsinnature,andarethereforeequallyinvestigatedbyreason,andknownbystudy;somewithmore,somewithlessclearness,butallexactlyinthesameway。Apicturethatisunlike,isfalse。Disproportionateordinanceofpartsisnotrightbecauseitcannotbetrueuntilitceasestobeacontradictiontoassertthatthepartshavenorelationtothewhole。Colouringistruewhereitisnaturallyadaptedtotheeye,frombrightness,fromsoftness,fromharmony,fromresemblance;becausetheseagreewiththeirobject,nature,andthereforearetrue:astrueasmathematicaldemonstration;butknowntobetrueonlytothosewhostudythesethings。
Butbesidesreal,thereisalsoapparenttruth,oropinion,orprejudice。Withregardtorealtruth,whenitisknown,thetastewhichconformstoitis,andmustbe,uniform。Withregardtothesecondsortoftruth,whichmaybecalledtruthuponsufferance,ortruthbycourtesy,itisnotfixed,butvariable。However,whilsttheseopinionsandprejudicesonwhichitisfoundedcontinue,theyoperateastruth;andtheart,whoseofficeitistopleasethemind,aswellasinstructit,mustdirectitselfaccordingtoopinion,oritwillnotattainitsend。
Inproportionastheseprejudicesareknowntobegenerallydiffused,orlongreceived,thetastewhichconformstothemapproachesnearertocertainty,andtoasortofresemblancetorealscience,evenwhereopinionsarefoundtobenobetterthanprejudices。Andsincetheydeserve,onaccountoftheirdurationandextent,tobeconsideredasreallytrue,theybecomecapableofnosmalldecreeofstabilityanddeterminationbytheirpermanentanduniformnature。
Astheseprejudicesbecomemorenarrow,morelocal,moretransitory,thissecondarytastebecomesmoreandmorefantastical;
recedesfromrealscience;islesstobeapprovedbyreason,andlessfollowedinpractice;thoughinnocaseperhapstobewhollyneglected,whereitdoesnotstand,asitsometimesdoes,indirectdefianceofthemostrespectableopinionsreceivedamongstmankind。
Havinglaiddownthesepositions,Ishallproceedwithlessmethod,becauselesswillserve,toexplainandapplythem。
Wewilltakeitforgrantedthatreasonissomethinginvariableandfixedinthenatureofthings;andwithoutendeavouringtogobacktoanaccountoffirstprinciples,whichforeverwilleludeoursearch,wewillconcludethatwhatevergoesunderthenameoftaste,whichwecanfairlybringunderthedominionofreason,mustbeconsideredasequallyexemptfromchange。Iftherefore,inthecourseofthisinquiry,wecanshowthattherearerulesfortheconductoftheartistwhicharefixedandinvariable,itimplies,ofcourse,thattheartoftheconnoisseur,or,inotherwords,taste,haslikewiseinvariableprinciples。
Ofthejudgmentwhichwemakeontheworksofart,andthepreferencethatwegivetooneclassofartoveranother,ifareasonbedemanded,thequestionisperhapsevadedbyanswering,"I
judgefrommytaste";butitdoesnotfollowthatabetteranswercannotbegiven,thoughforcommongazersthismaybesufficient。
Everymanisnotobligedtoinvestigatethecausesofhisapprobationordislike。
Theartswouldlieopenforevertocapriceandcasualty,ifthosewhoaretojudgeoftheirexcellenceshadnosettledprinciplesbywhichtheyaretoregulatetheirdecisions,andthemeritordefectofperformancesweretobedeterminedbyunguidedfancy。Andindeedwemayventuretoassertthatwhateverspeculativeknowledgeisnecessarytotheartist,isequallyandindispensablynecessarytotheconnoisseur。
Thefirstideathatoccursintheconsiderationofwhatisfixedinart,orintaste,isthatpresidingprincipleofwhichIhavesofrequentlyspokeninformerdiscourses,thegeneralideaofnature。
Thebeginning,themiddle,andtheendofeverythingthatisvaluableintaste,iscomprisedintheknowledgeofwhatistrulynature;forwhateverideasarenotconformabletothoseofnature,oruniversalopinion,mustbeconsideredasmoreorlesscapricious。
Theideaofnaturecomprehendingnotonlytheformswhichnatureproduces,butalsothenatureandinternalfabricandorganisation,asImaycallit,ofthehumanmindandimagination:generalideas,beauty,ornature,arebutdifferentwaysofexpressingthesamething,whetherweapplythesetermstostatues,poetry,orpicture。Deformityisnotnature,butanaccidentaldeviationfromheraccustomedpractice。Thisgeneralideathereforeoughttobecallednature,andnothingelse,correctlyspeaking,hasarighttothatname。Butwearesofarfromspeaking,incommonconversation,withanysuchaccuracy,that,onthecontrary,whenwecriticiseRembrandtandotherDutchpainters,whointroducedintotheirhistoricalpicturesexactrepresentationsofindividualobjectswithalltheirimperfections,wesay,thoughitisnotinagoodtaste,yetitisnature。
Thismisapplicationoftermsmustbeveryoftenperplexingtotheyoungstudent。Isnot,hemaysay,artanimitationofnature?
Musthenot,therefore,whoimitatesherwiththegreatestfidelitybethebestartist?BythismodeofreasoningRembrandthasahigherplacethanRaffaelle。Butaverylittlereflectionwillservetoshowusthattheseparticularitiescannotbenature:forhowcanthatbethenatureofman,inwhichnotwoindividualsarethesame?
Itplainlyappearsthatasaworkisconductedundertheinfluenceofgeneralideasorpartialitisprincipallytobeconsideredastheeffectofagoodorabadtaste。
Asbeautythereforedoesnotconsistintakingwhatliesimmediatelybeforeyou,soneither,inourpursuitoftaste,arethoseopinionswhichwefirstreceivedandadoptedthebestchoice,orthemostnaturaltothemindandimagination。
Intheinfancyofourknowledgeweseizewithgreedinessthegoodthatiswithinourreach;itisbyafter-consideration,andinconsequenceofdiscipline,thatwerefusethepresentforagreatergoodatadistance。Thenobilityorelevationofallarts,liketheexcellenceofvirtueitself,consistsinadoptingthisenlargedandcomprehensiveidea,andallcriticismbuiltuponthemoreconfinedviewofwhatisnatural,mayproperlybecalledshallowcriticism,ratherthanfalse;itsdefectisthatthetruthisnotsufficientlyextensive。
Ithassometimeshappenedthatsomeofthegreatestmeninourarthavebeenbetrayedintoerrorsbythisconfinedmodeofreasoning。
Poussin,who,uponthewhole,maybeproducedasaninstanceofattentiontothemostenlargedandextensiveideasofnature,fromnothavingsettledprinciplesonthispoint,hasinoneinstanceatleast,Ithink,desertedtruthforprejudice。HeissaidtohavevindicatedtheconductofJulioRomano,forhisinattentiontothemassesoflightandshade,orgroupingthefigures,inthebattleofConstantine,asifdesignedlyneglected,thebettertocorrespondwiththehurryandconfusionofabattle。Poussin’sownconductinhisrepresentationsofBacchanaliantriumphsandsacrifices,makesusmoreeasilygivecredittothisreport,sinceinsuchsubjects,aswellindeedasinmanyothers,itwastoomuchhisownpractice。Thebestapologywecanmakeforthisconductiswhatproceedsfromtheassociationofourideas,theprejudicewehaveinfavourofantiquity。Poussin’sworks,asIhaveformerlyobserved,haveverymuchtheairoftheancientmannerofpainting,inwhichtherearenottheleasttracestomakeusthinkthatwhatwecallthekeeping,thecompositionoflightandshade,ordistributionoftheworkintomasses,claimedanypartoftheirattention。Butsurelywhateverapologywemayfindoutforthisneglect,itoughttoberankedamongthedefectsofPoussin,aswellasoftheantiquepaintings;andthemodernshavearighttothatpraisewhichistheirdue,forhavinggivensopleasinganadditiontothesplendouroftheart。
Perhapsnoapologyoughttobereceivedforoffencescommittedagainstthevehicle(whetheritbetheorganofseeingorofhearing)bywhichourpleasuresareconveyedtothemind。Wemusttakethesamecarethattheeyebenotperplexedanddistractedbyaconfusionofequalparts,orequallights,asofoffendingitbyanunharmoniousmixtureofcolours。Wemayventuretobemoreconfidentofthetruthofthisobservation,sincewefindthatShakespeare,onaparalleloccasion,hasmadeHamletrecommendtotheplayersapreceptofthesamekind,nevertooffendtheearbyharshsounds:-"Intheverytorrent,tempest,andwhirlwindofyourpassions,"sayshe,"youmustbegetatemperancethatmaygiveitsmoothness。"Andyet,atthesametime,heveryjustlyobserves,"Theendofplaying,bothatthefirstandnow,istohold,asitwere,themirroruptonature。"Noonecandenybutthatviolentpassionswillnaturallyemitharshanddisagreeabletones;yetthisgreatpoetandcriticthoughtthatthisimitationofnaturewouldcosttoomuch,ifpurchasedattheexpenseofdisagreeablesensations,or,asheexpressesit,of"splittingtheear。"Thepoetandactor,aswellasthepainterofgeniuswhoiswellacquaintedwithallthevarietyandsourcesofpleasureinthemindandimagination,haslittleregardorattentiontocommonnature,orcreepingaftercommonsense。Byoverleapingthosenarrowbounds,hemoreeffectuallyseizesthewholemind,andmorepowerfullyaccomplisheshispurpose。Thissuccessisignorantlyimaginedtoproceedfrominattentiontoallrules,andindefianceofreasonandjudgment;whereasitisintruthactingaccordingtothebestrules,andthejustestreason。
Hewhothinksnature,inthenarrowsenseoftheword,isalonetobefollowed,willproducebutascantyentertainmentfortheimagination:everythingistobedonewithwhichitisnaturalforthemindtobepleased,whetheritproceedsfromsimplicityorvariety,uniformityorirregularity:whetherthescenesarefamiliarorexotic;rudeandwild,orenrichedandcultivated;foritisnaturalforthemindtobepleasedwithalltheseintheirturn。Inshort,whateverpleaseshasinitwhatisanalogoustothemind,andistherefore,inthehighestandbestsenseoftheword,natural。
Itisthissenseofnatureortruthwhichoughtmoreparticularlytobecultivatedbytheprofessorsofart;anditmaybeobservedthatmanywiseandlearnedmen,whohaveaccustomedtheirmindstoadmitnothingfortruthbutwhatcanbeprovedbymathematicaldemonstration,haveseldomanyrelishforthoseartswhichaddressthemselvestothefancy,therectitudeandtruthofwhichisknownbyanotherkindofproof:andwemayaddthattheacquisitionofthisknowledgerequiresasmuchcircumspectionandsagacity,astoattainthosetruthswhicharemoreopentodemonstration。Reasonmustultimatelydetermineourchoiceoneveryoccasion;butthisreasonmaystillbeexertedineffectuallybyapplyingtotasteprincipleswhich,thoughrightasfarastheygo,yetdonotreachtheobject。Noman,forinstance,candenythatitseemsatfirstviewveryreasonable,thatastatuewhichistocarrydowntoposteritytheresemblanceofanindividualshouldbedressedinthefashionofthetimes,inthedresswhichhehimselfwore:thiswouldcertainlybetrueifthedresswerepartoftheman。Butafteratimethedressisonlyanamusementforanantiquarian;andifitobstructsthegeneraldesignofthepiece,itistobedisregardedbytheartist。Commonsensemustheregivewaytoahighersense。
Inthenakedform,andinthedispositionofthedrapery,thedifferencebetweenoneartistandanotherisprincipallyseen。Butifheiscompelledtothemoderndress,thenakedformisentirelyhid,andthedraperyisalreadydisposedbytheskillofthetailor。WereaPhidiastoobeysuchabsurdcommands,hewouldpleasenomorethananordinarysculptor;since,intheinferiorpartsofeveryart,thelearnedandtheignorantarenearlyuponalevel。
ThesewereprobablyamongthereasonsthatinducedthesculptorofthatwonderfulfigureofLaocoontoexhibithimnaked,notwithstandinghewassurprisedintheactofsacrificingtoApollo,andconsequentlyoughttobeshowninhissacerdotalhabits,ifthosegreaterreasonshadnotpreponderated。Artisnotyetinsohighestimationwithusastoobtainsogreatasacrificeastheancientsmade,especiallytheGrecians,whosufferedthemselvestoberepresentednaked,whethertheyweregenerals,lawgivers,orkings。
Underthisheadofbalancingandchoosingthegreaterreason,oroftwoevilstakingtheleast,wemayconsidertheconductofRubensintheLuxembourggallery,ofmixingallegoricalfigureswithrepresentationsofrealpersonages,which,thoughacknowledgedtobeafault,yet,iftheartistconsideredhimselfasengagedtofurnishthisgallerywitharichandsplendidornament,thiscouldnotbedone,atleastinanequaldegree,withoutpeoplingtheairandwaterwiththeseallegoricalfigures:hethereforeaccomplishedthathepurposes。Inthiscasealllesserconsiderations,whichtendtoobstructthegreatendofthework,mustyieldandgiveway。
IfitisobjectedthatRubensjudgedillatfirstinthinkingitnecessarytomakehisworksoveryornamental,thisbringsthequestionuponnewground。Itwashispeculiarstyle;hecouldpaintinnoother;andhewasselectedforthatwork,probably,becauseitwashisstyle。NobodywilldisputebutsomeofthebestoftheRomanorBolognianschoolswouldhaveproducedamorelearnedandmorenoblework。
Thisleadsustoanotherimportantprovinceoftaste,ofweighingthevalueofthedifferentclassesoftheart,andofestimatingthemaccordingly。
Allartshavemeanswithinthemofapplyingthemselveswithsuccessbothtotheintellectualandsensitivepartofournatures。Itcanbenodispute,supposingboththesemeansputinpracticewithequalabilities,towhichweoughttogivethepreference:tohimwhorepresentstheheroicartsandmoredignifiedpassionsofman,ortohimwho,bythehelpofmeretriciousornaments,howeverelegantandgraceful,captivatesthesensuality,asitmaybecalled,ofourtaste。ThustheRomanandBolognianschoolsarereasonablypreferredtotheVenetian,Flemish,orDutchschools,astheyaddressthemselvestoourbestandnoblestfaculties。
Well-turnedperiodsineloquence,orharmonyofnumbersinpoetry,whichareinthoseartswhatcolouringisinpainting,howeverhighlywemayesteemthem,canneverbeconsideredasofequalimportancewiththeartofunfoldingtruthsthatareusefultomankind,andwhichmakeusbetterorwiser。Norcanthoseworkswhichremindusofthepovertyandmeannessofournature,beconsideredasofequalrankwithwhatexcitesideasofgrandeur,orraisesanddignifieshumanity;or,inthewordsofalatepoet,whichmakesthebeholderlearntoveneratehimselfasman。
Itisreasonandgoodsensethereforewhichranksandestimateseveryart,andeverypartofthatart,accordingtoitsimportance,fromthepainterofanimateddowntoinanimatednature。Wewillnotallowaman,whoshallprefertheinferiorstyle,tosayitishistaste;tasteherehasnothing,oratleastoughttohavenothingtodowiththequestion。Hewantsnottaste,butsense,andsoundnessofjudgment。
Indeed,perfectioninaninferiorstylemaybereasonablypreferredtomediocrityinthehighestwalksofart。AlandscapeofClaudeLorrainemaybepreferredtoahistoryofLucaJordano;buthenceappearsthenecessityoftheconnoisseur’sknowinginwhatconsiststheexcellenceofeachclass,inordertojudgehownearitapproachestoperfection。
Eveninworksofthesamekind,asinhistorypainting,whichiscomposedofvariousparts,excellenceofaninferiorspecies,carriedtoaveryhighdegree,willmakeaworkveryvaluable,andinsomemeasurecompensatefortheabsenceofthehigherkindofmerits。Itisthedutyoftheconnoisseurtoknowandesteem,asmuchasitmaydeserve,everypartofpainting;hewillnotthenthinkevenBassanounworthyofhisnotice,who,thoughtotallydevoidofexpression,sense,grace,orelegance,maybeesteemedonaccountofhisadmirabletasteofcolours,which,inhisbestworks,arelittleinferiortothoseofTitian。
SinceIhavementionedBassano,wemustdohimlikewisethejusticetoacknowledgethat,thoughhedidnotaspiretothedignityofexpressingthecharactersandpassionsofmen,yet,withrespecttothefacilityandtruthinhismanneroftouchinganimalsofallkinds,andgivingthemwhatpainterscalltheircharacter,fewhaveeverexcelledhim。
ToBassanowemayaddPaulVeroneseandTintoret,fortheirentireinattentiontowhatisjustlyesteemedthemostessentialpartofourart,theexpressionofthepassions。Notwithstandingtheseglaringdeficiencies,wejustlyesteemtheirworks;butitmustberememberedthattheydonotpleasefromthosedefects,butfromtheirgreatexcellencesofanotherkind,andinspiteofsuchtransgressions。Theseexcellences,too,asfarastheygo,arefoundedinthetruthofgeneralnature。Theytellthetruth,thoughnotthewholetruth。
Bytheseconsiderations,whichcanneverbetoofrequentlyimpressed,maybeobviatedtwoerrorswhichIobservedtohavebeen,formerlyatleast,themostprevalent,andtobemostinjurioustoartists:thatofthinkingtasteandgeniustohavenothingtodowithreason,andthatoftakingparticularlivingobjectsfornature。
Ishallnowsaysomethingonthatpartoftastewhich,asIhavehintedtoyoubefore,doesnotbelongsomuchtotheexternalformofthings,butisaddressedtothemind,anddependsonitsoriginalframe,or,tousetheexpression,theorganisationofthesoul;Imeantheimaginationandthepassions。Theprinciplesoftheseareasinvariableastheformer,andaretobeknownandreasoneduponinthesamemanner,byanappealtocommonsensedecidinguponthecommonfeelingsofmankind。Thissense,andthesefeelings,appeartomeofequalauthority,andequallyconclusive。
Nowthisappealimpliesageneraluniformityandagreementinthemindsofmen。Itwouldbeelseanidleandvainendeavourtoestablishrulesofart;itwouldbepursuingaphantomtoattempttomoveaffectionswithwhichwewereentirelyunacquainted。Wehavenoreasontosuspectthereisagreaterdifferencebetweenourmindsthanbetweenourforms,ofwhich,thoughtherearenotwoalike,yetthereisageneralsimilitudethatgoesthroughthewholeraceofmankind;andthosewhohavecultivatedtheirtastecandistinguishwhatisbeautifulordeformed,or,inotherwords,whatagreeswithorwhatdeviatesfromthegeneralideaofnature,inonecaseaswellasintheother。
Theinternalfabricofourmind,aswellastheexternalformofourbodies,beingnearlyuniform,itseemsthentofollow,ofcourse,thatastheimaginationisincapableofproducinganythingoriginallyofitself,andcanonlyvaryandcombinetheseideaswithwhichitisfurnishedbymeansofthesenses,therewillbe,ofcourse,anagreementintheimaginationsasinthesensesofmen。Therebeingthisagreement,itfollowsthatinallcases,inourlightestamusementsaswellasinourmostseriousactionsandengagementsoflife,wemustregulateouraffectionsofeverykindbythatofothers。Thewell-disciplinedmindacknowledgesthisauthority,andsubmitsitsownopiniontothepublicvoice。
Itisfromknowingwhatarethegeneralfeelingsandpassionsofmankindthatweacquireatrueideaofwhatimaginationis;thoughitappearsasifwehadnothingtodobuttoconsultourownparticularsensations,andtheseweresufficienttoensureusfromallerrorandmistake。
Aknowledgeofthedispositionandcharacterofthehumanmindcanbeacquiredonlybyexperience:agreatdealwillbelearned,I
admit,byahabitofexaminingwhatpassesinourbosoms,whatareourownmotivesofaction,andofwhatkindofsentimentsweareconsciousonanyoccasion。Wemaysupposeauniformity,andconcludethatthesameeffectwillbeproducedbythesamecauseinthemindsofothers。Thisexaminationwillcontributetosuggesttousmattersofinquiry;butwecanneverbesurethatourownsensationsaretrueandrighttilltheyareconfirmedbymoreextensiveobservation。
Onemanopposinganotherdeterminesnothingbutageneralunionofminds,likeageneralcombinationoftheforcesofallmankind,makesastrengththatisirresistible。Infact,ashewhodoesnotknowhimselfdoesnotknowothers,soitmaybesaidwithequaltruth,thathewhodoesnotknowothersknowshimselfbutveryimperfectly。
AmanwhothinksheisguardinghimselfagainstPrejudicesbyresistingtheauthorityofothers,leavesopeneveryavenuetosingularity,vanity,self-conceit,obstinacy,andmanyothervices,alltendingtowarpthejudgmentandpreventthenaturaloperationofhisfaculties。
Thissubmissiontoothersisadeferencewhichweowe,andindeedareforcedinvoluntarilytopay。
Infactweareneversatisfiedwithouropinionstilltheyareratifiedandconfirmedbythesuffragesoftherestofmankind。Wedisputeandwrangleforever;weendeavourtogetmentocometouswhenwedonotgotothem。
Hethereforewhoisacquaintedwiththeworkswhichhavepleaseddifferentagesanddifferentcountries,andhasformedhisopiniononthem,hasmorematerialsandmoremeansofknowingwhatisanalogoustothemindofmanthanhewhoisconversantonlywiththeworksofhisownageorcountry。Whathaspleased,andcontinuestoplease,islikelytopleaseagain:hencearederivedtherulesofart,andonthisimmovablefoundationtheymusteverstand。
Thissearchandstudyofthehistoryofthemindoughtnottobeconfinedtooneartonly。Itisbytheanalogythatoneartbearstoanotherthatmanythingsareascertainedwhicheitherwerebutfaintlyseen,or,perhaps,wouldnothavebeendiscoveredatalliftheinventorhadnotreceivedthefirsthintsfromthepracticesofasisterartonasimilaroccasion。Thefrequentallusionswhicheverymanwhotreatsofanyartisobligedtodrawfromothersinordertoillustrateandconfirmhisprinciples,sufficientlyshowtheirnearconnectionandinseparablerelation。
Allartshavingthesamegeneralend,whichistoplease,andaddressingthemselvestothesamefacultiesthroughthemediumofthesenses,itfollowsthattheirrulesandprinciplesmusthaveasgreataffinityasthedifferentmaterialsandthedifferentorgansorvehiclesbywhichtheypasstothemindwillpermitthemtoretain。
Wemaythereforeconcludethattherealsubstance,asitmaybecalled,ofwhatgoesunderthenameoftaste,isfixedandestablishedinthenatureofthings;thattherearecertainandregularcausesbywhichtheimaginationandpassionsofmenareaffected;andthattheknowledgeofthesecausesisacquiredbyalaboriousanddiligentinvestigationofnature,andbythesameslowprogressaswisdomorknowledgeofeverykind,howeverinstantaneousitsoperationsmayappearwhenthusacquired。
Ithasbeenoftenobservedthatthegoodandvirtuousmanalonecanacquirethistrueorjustrelish,evenofworksofart。Thisopinionwillnotappearentirelywithoutfoundationwhenweconsiderthatthesamehabitofmindwhichisacquiredbyoursearchaftertruthinthemoreseriousdutiesoflife,isonlytransferredtothepursuitoflighteramusements:thesamedisposition,thesamedesiretofindsomethingsteady,substantial,anddurable,onwhichthemindcanlean,asitwere,andrestwithsafety。Thesubjectonlyischanged。Wepursuethesamemethodinoursearchaftertheideaofbeautyandperfectionineach;ofvirtue,bylookingforwardsbeyondourselvestosociety,andtothewhole;ofarts,byextendingourviewsinthesamemannertoallagesandalltimes。
Everyart,likeourown,hasinitscompositionfluctuatingaswellasfixedprinciples。Itisanattentiveinquiryintotheirdifferencethatwillenableustodeterminehowfarweareinfluencedbycustomandhabit,andwhatisfixedinthenatureofthings。
Todistinguishhowmuchhassolidfoundation,wemayhaverecoursetothesameproofbywhichsomeholdwitoughttobetried——whetheritpreservesitselfwhentranslated。Thatwitisfalsewhichcansubsistonlyinonelanguage;andthatpicturewhichpleasesonlyoneageoronenation,owesitsreceptiontosomelocaloraccidentalassociationofideas。
Wemayapplythistoeverycustomandhabitoflife。Thusthegeneralprinciplesofurbanity,politeness,orcivility,havebeeneverthesameinallnations;butthemodeinwhichtheyaredressediscontinuallyvarying。Thegeneralideaofshowingrespectisbymakingyourselfless:butthemanner,whetherbybowingthebody,kneeling,prostration,pullingofftheupperpartofourdress,ortakingawaythelower,isamatterofhabit。Itwouldbeunjusttoconcludethatallornaments,becausetheywereatfirstarbitrarilycontrived,arethereforeundeservingofourattention;onthecontrary,hewhoneglectsthecultivationofthoseornaments,actscontrarilytonatureandreason。Aslifewouldbeimperfectwithoutitshighestornaments,thearts,sotheseartsthemselveswouldbeimperfectwithoutTHEIRornaments。
Thoughwebynomeansoughttorankthesewithpositiveandsubstantialbeauties,yetitmustbeallowedthataknowledgeofbothisessentiallyrequisitetowardsformingacomplete,whole,andperfecttaste。Itisinrealityfromtheornamentsthatartsreceivetheirpeculiarcharacterandcomplexion;wemayaddthatinthemwefindthecharacteristicalmarkofanationaltaste,asbythrowingupafeatherintheairweknowwhichwaythewindblows,betterthanbyamoreheavymatter。
ThestrikingdistinctionbetweentheworksoftheRoman,Bolognian,andVenetianschools,consistsmoreinthatgeneraleffectwhichisproducedbycoloursthaninthemoreprofoundexcellencesoftheart;atleastitisfromthencethateachisdistinguishedandknownatfirstsight。Asitistheornamentsratherthantheproportionsofarchitecturewhichatthefirstglancedistinguishthedifferentordersfromeachother;theDoricisknownbyitstriglyphs,theIonicbyitsvolutes,andtheCorinthianbyitsacanthus。
Whatdistinguishesoratoryfromacoldnarration,isamoreliberalthoughchasteuseoftheseornamentswhichgounderthenameoffigurativeandmetaphoricalexpressions;andpoetrydistinguishesitselffromoratorybywordsandexpressionsstillmoreardentandglowing。WhatseparatesanddistinguishespoetryismoreparticularlytheornamentofVERSE;itisthiswhichgivesititscharacter,andisanessential,withoutwhichitcannotexist。
Customhasappropriateddifferentmetretodifferentkindsofcomposition,inwhichtheworldisnotperfectlyagreed。InEnglandthedisputeisnotyetsettledwhichistobepreferred,rhymeorblankverse。Buthoweverwedisagreeaboutwhatthesemetricalornamentsshallbe,thatsomemetreisessentiallynecessaryisuniversallyacknowledged。
Inpoetryoreloquence,todeterminehowfarfigurativeormetaphoricallanguagemayproceed,andwhenitbeginstobeaffectationorbesidethetruth,mustbedeterminedbytaste,thoughthistastewemustneverforgetisregulatedandformedbythepresidingfeelingsofmankind,bythoseworkswhichhaveapprovedthemselvestoalltimesandallpersons。
Thus,thougheloquencehasundoubtedlyanessentialandintrinsicexcellence,andimmovableprinciplescommontoalllanguages,foundedinthenatureofourpassionsandaffections,yetithasitsornamentsandmodesofaddresswhicharemerelyarbitrary。
WhatisapprovedintheEasternnationsasgrandandmajestic,wouldbeconsideredbytheGreeksandRomansasturgidandinflated;andthey,inreturn,wouldbethoughtbytheOrientalstoexpressthemselvesinacoldandinsipidmanner。
Wemayaddlikewisetothecreditofornaments,thatitisbytheirmeansthatartitselfaccomplishesitspurpose。Fresnoycallscolouring,whichisoneofthechiefornamentsofpainting,lenasororis,thatwhichprocuresloversandadmirerstothemorevaluableexcellencesoftheart。
ItappearstobethesamerightturnofmindwhichenablesamantoacquiretheTRUTH,orthejustideaofwhatisrightintheornaments,asinthemorestableprinciplesofart。Ithasstillthesamecentreofperfection,thoughitisthecentreofasmallercircle。
Toillustratethisbythefashionofdress,inwhichthereisallowedtobeagoodor,badtaste。Thecomponentpartsofdressarecontinuallychangingfromgreattolittle,fromshorttolong,butthegeneralformstillremains;itisstillthesamegeneraldresswhichiscomparativelyfixed,thoughonaveryslenderfoundation,butitisonthiswhichfashionmustrest。Hewhoinventswiththemostsuccess,ordressesin,thebesttaste,wouldprobably,fromthesamesagacityemployedtogreaterpurposes,havediscoveredequalskill,orhaveformedthesamecorrecttasteinthehighestlaboursofart。
Ihavementionedtasteindress,whichiscertainlyoneofthelowestsubjectstowhichthiswordisapplied;yet,asIhavebeforeobserved,thereisarightevenhere,howevernarrowitsfoundationrespectingthefashionofanyparticularnation。Butwehavestillmoreslendermeansofdetermining,inregardtothedifferentcustomsofdifferentagesorcountries,towhichtogivethepreference,sincetheyseemtobeallequallyremovedfromnature。
IfanEuropean,whenhehascutoffhisbeard,andputfalsehaironhishead,orbounduphisownnaturalhairinregularhardknots,asunlikenatureashecanpossiblymakeit;andhavingrenderedthemimmovablebythehelpofthefatofhogs,hascoveredthewholewithflour,laidonbyamachinewiththeutmostregularity;if,whenthusattiredheissuesforth,hemeetsaCherokeeIndian,whohasbestowedasmuchtimeathistoilet,andlaidonwithequalcareandattentionhisyellowandredochreonparticularpartsofhisforeheadorcheeks,ashejudgesmostbecoming;whoeverdespisestheotherforthisattentiontothefashionofhiscountry,whicheverofthesetwofirstfeelshimselfprovokedtolaugh,isthebarbarian。
Allthesefashionsareveryinnocent,neitherworthdisquisition,noranyendeavourtoalterthem,asthechangewould,inallprobability,beequallydistantfromnature。Theonlycircumstancesagainstwhichindignationmayreasonablybemoved,arewheretheoperationispainfulordestructiveofhealth,suchasispractisedatOtahaiti,andthestraightlacingoftheEnglishladies;ofthelastofwhich,howdestructiveitmustbetohealthandlonglife,theprofessorofanatomytookanopportunityofprovingafewdayssinceinthisAcademy。
Itisindressasinthingsofgreaterconsequence。Fashionsoriginatefromthoseonlywhohavethehighandpowerfuladvantagesofrank,birth,andfortune;asmanyoftheornamentsofart,thoseatleastforwhichnoreasoncanbegiven,aretransmittedtous,areadopted,andacquiretheirconsequencefromthecompanyinwhichwehavebeenusedtoseethem。AsGreeceandRomearethefountainsfromwhencehaveflowedallkindsofexcellence,tothatvenerationwhichtheyhavearighttoclaimforthepleasureandknowledgewhichtheyhaveaffordedus,wevoluntarilyaddourapprobationofeveryornamentandeverycustomthatbelongedtothem,eventothefashionoftheirdress。Foritmaybeobservedthat,notsatisfiedwiththemintheirownplace,wemakenodifficultyofdressingstatuesofmodernheroesorsenatorsinthefashionoftheRomanarmourorpeacefulrobe;wegosofarashardlytobearastatueinanyotherdrapery。
Thefiguresofthegreatmenofthosenationshavecomedowntousinsculpture。Insculptureremainalmostalltheexcellentspecimensofancientart。Wehavesofarassociatedpersonaldignitytothepersonsthusrepresented,andthetruthofarttotheirmannerofrepresentation,thatitisnotinourpoweranylongertoseparatethem。Thisisnotsoinpainting;because,havingnoexcellentancientportraits,thatconnectionwasneverformed。Indeed,wecouldnomoreventuretopaintageneralofficerinaRomanmilitaryhabit,thanwecouldmakeastatueinthepresentuniform。Butsincewehavenoancientportraits,toshowhowreadywearetoadoptthosekindofprejudices,wemakethebestauthorityamongthemodernsservethesamepurpose。ThegreatvarietyofexcellentportraitswithwhichVandykehasenrichedthisnation,wearenotcontenttoadmirefortheirrealexcellence,butextendourapprobationeventothedresswhichhappenedtobethefashionofthatage。WeallverywellrememberhowcommonitwasafewyearsagoforportraitstobedrawninthisGothicdress,andthiscustomisnotyetentirelylaidaside。BythismeansitmustbeacknowledgedveryordinarypicturesacquiredsomethingoftheairandeffectoftheworksofVandyke,andappearedthereforeatfirstsighttobebetterpicturesthantheyreallywere;theyappearedso,however,tothoseonlywhohadthemeansofmakingthisassociation,forwhenmade,itwasirresistible。Butthisassociationisnature,andreferstothatSecondarytruththatcomesfromconformitytogeneralprejudiceandopinion;itisthereforenotmerelyfantastical。Besidestheprejudicewhichwehaveinfavourofancientdresses,theremaybelikewiseotherreasons,amongstwhichwemayjustlyrankthesimplicityofthem,consistingoflittlemorethanonesinglepieceofdrapery,withoutthosewhimsicalcapriciousformsbywhichallotherdressesareembarrassed。
Thus,thoughitisfromtheprejudicewehaveinfavouroftheancients,whohavetaughtusarchitecture,thatwehaveadoptedlikewisetheirornaments;andthoughwearesatisfiedthatneithernaturenorreasonisthefoundationofthosebeautieswhichweimagineweseeinthatart,yetifanyonepersuadedofthistruthshould,therefore,inventnewordersofequalbeauty,whichwewillsupposetobepossible,yettheywouldnotplease,noroughthetocomplain,sincetheoldhasthatgreatadvantageofhavingcustomandprejudiceonitsside。Inthiscaseweleavewhathaseveryprejudiceinitsfavourtotakethatwhichwillhavenoadvantageoverwhatwehaveleft,butnovelty,whichsoondestroysitself,and,atanyrate,isbutaweakantagonistagainstcustom。
Theseornaments,havingtherightofpossession,oughtnottoberemovedbuttomakeroomfornotonlywhathashigherpretensions,butsuchpretensionsaswillbalancetheevilandconfusionwhichinnovationalwaysbringswithit。
Tothiswemayadd,eventhedurabilityofthematerialswilloftencontributetogiveasuperioritytooneobjectoveranother。
Ornamentsinbuildings,withwhichtasteisprincipallyconcerned,arecomposedofmaterialswhichlastlongerthanthoseofwhichdressiscomposed;it,therefore,makeshigherpretensionstoourfavourandprejudice。
Someattentionissurelyrequiredtowhatwecannomoregetridofthanwecangooutofourselves。Wearecreaturesofprejudice;weneithercannoroughttoeradicateit;wemustonlyregulate,itbyreason,whichregulationbyreasonis,indeed,littlemorethanobligingthelesser,thefocalandtemporaryprejudices,togivewaytothosewhicharemoredurableandlasting。
He,therefore,whoinhispracticeofportraitpaintingwishestodignifyhissubject,whichwewillsupposetobealady,willnotpaintherinthemoderndress,thefamiliarityofwhichaloneissufficienttodestroyalldignity。Hetakescarethathisworkshallcorrespondtothoseideasandthatimaginationwhichheknowswillregulatethejudgmentofothers,and,therefore,dresseshisfiguresomethingwiththegeneralairoftheantiqueforthesakeofdignity,andpreservessomethingofthemodernforthesakeoflikeness。Bythisconducthisworkscorrespondwiththoseprejudiceswhichwehaveinfavourofwhatwecontinuallysee;andtherelishoftheantiquesimplicitycorrespondswithwhatwemaycallthe,morelearnedandscientificprejudice。
TherewasastatuemadenotlongsinceofVoltaire,whichthesculptor,nothavingthatrespectfortheprejudicesofmankindwhichheoughttohave,hasmadeentirelynaked,andasmeagreandemaciatedastheoriginalissaidtobe。Theconsequenceiswhatmightbeexpected;ithasremainedinthesculptor’sshop,thoughitwasintendedasapublicornamentandapublichonourtoVoltaire,asitwasprocuredattheexpenseofhiscotemporarywitsandadmirers。
Whoeverwouldreformanation,supposingabadtastetoprevailinit,willnotaccomplishhispurposebygoingdirectlyagainstthestreamoftheirprejudices。Men’smindsmustbepreparedtoreceivewhatisnewtothem。Reformationisaworkoftime。A
nationaltaste,howeverwrongitmaybe,cannotbetotallychangeatonce;wemustyieldalittletotheprepossessionwhichhastakenholdonthemind,andwemaythenbringpeopletoadoptwhatwouldoffendthemifendeavouredtobeintroducedbystorm。WhenBattistoFrancowasemployed,inconjunctionwithTitian,PaulVeronese,andTintoret,toadornthelibraryofSt。Mark,hiswork,Vasarisays,gavelesssatisfactionthananyoftheothers:thedrymanneroftheRomanschoolwasveryillcalculatedtopleaseeyesthathadbeenaccustomedtotheluxuriance,splendour,andrichnessofVenetiancolouring。HadtheRomansbeenthejudgesofthiswork,probablythedeterminationwouldhavebeenjustcontrary;forinthemorenoblepartsoftheartBattistoFrancowas,perhaps,notinferiortoanyofhisrivals。
Gentlemen,——Ithasbeenthemainscopeandprincipalendofthisdiscoursetodemonstratetherealityofastandardintaste,aswellasincorporealbeauty;thatafalseordepravedtasteisathingaswellknown,aseasilydiscovered,asanythingthatisdeformed,misshapen,orwronginourformoroutwardmake;andthatthisknowledgeisderivedfromtheuniformityofsentimentsamongmankind,fromwhenceproceedstheknowledgeofwhatarethegeneralhabitsofnature,theresultofwhichisanideaofperfectbeauty。
Ifwhathasbeenadvancedbetrue,thatbesidesthisbeautyortruthwhichisformedontheuniformeternalandimmutablelawsofnature,andwhichofnecessitycanbebutone;thatbesidesthisoneimmutableveritytherearelikewisewhatwehavecalledapparentorsecondarytruthsproceedingfromlocalandtemporaryprejudices,fancies,fashions,oraccidentalconnectionofideas;
ifitappearsthattheselasthavestilltheirfoundation,howeverslender,intheoriginalfabricofourminds,itfollowsthatallthesetruthsorbeautiesdeserveandrequiretheattentionoftheartistinproportiontotheirstabilityorduration,orastheirinfluenceismoreorlessextensive。Andletmeaddthatastheyoughtnottopasstheirjustbounds,soneitherdothey,inawell-
regulatedtaste,atallpreventorweakentheinfluenceofthesegeneralprinciples,whichalonecangivetoartitstrueandpermanentdignity。
Toformthisjusttasteisundoubtedlyinyourownpower,butitistoreasonandphilosophythatyoumusthaverecourse;fromthemwemustborrowthebalancebywhichistobeweighedandestimatedthevalueofeverypretensionthatintrudesitselfonyournotice。
Thegeneralobjectionwhichismadetotheintroductionofphilosophyintotheregionsoftasteis,thatitchecksandrestrainstheflightsoftheimagination,andgivesthattimiditywhichanover-carefulnessnottoerroractcontrarytoreasonislikelytoproduce。
Itisnotso。Fearisneitherreasonnorphilosophy。Thetruespiritofphilosophybygivingknowledgegivesamanlyconfidence,andsubstitutesrationalfirmnessintheplaceofvainpresumption。
Amanofrealtasteisalwaysamanofjudgmentinotherrespects;
andthoseinventionswhicheitherdisdainorshrinkfromreason,aregenerally,Ifear,morelikethedreamsofadistemperedbrainthantheexaltedenthusiasmofasoundandtruegenius。Inthemidstofthehighestflightsoffancyorimagination,reasonoughttopresidefromfirsttolast,thoughIadmithermorepowerfuloperationisuponreflection。
Icannothelpaddingthatsomeofthegreatestnamesofantiquity,andthosewhohavemostdistinguishedthemselvesinworksofgeniusandimagination,wereequallyeminentfortheircriticalskill。
Plato,Aristotle,Cicero,andHorace;andamongthemoderns,Boileau,Corneille,Pope,andDryden,areatleastinstancesofgeniusnotbeingdestroyedbyattentionorsubjectiontorulesandscience。Ishouldhope,therefore,thatthenaturalconsequencelikewiseofwhathasbeensaidwouldbetoexciteinyouadesireofknowingtheprinciplesandconductofthegreatmastersofourart,andrespectandvenerationforthemwhenknown。