Delivered to the Students of the Royal Academy on the Distribution of the Prizes, December 10th, 1776, by the President.
Gentlemen,--It has been my uniform endeavour, since I first addressed you from this place, to impress you strongly with one ruling idea.I wished you to be persuaded, that success in your art depends almost entirely on your own industry; but the industry which I principally recommended, is not the industry of the HANDS, but of the MIND.
As our art is not a divine gift, so neither is it a mechanical trade.Its foundations are laid in solid science.And practice, though essential to perfection, can never attain that to which it aims, unless it works under the direction of principle.
Some writers upon art carry this point too far, and suppose that such a body of universal and profound learning is requisite, that the very enumeration of its kind is enough to frighten a beginner.Vitruvius, after going through the many accomplishments of nature, and the many acquirements of learning, necessary to an architect, proceeds with great gravity to assert that he ought to be well skilled in the civil law, that he may not be cheated in the title of the ground he builds on.
But without such exaggeration, we may go so far as to assert, that a painter stands in need of more knowledge than is to be picked off his pallet, or collected by looking on his model, whether it be in life or in picture.He can never be a great artist who is grossly illiterate.
Every man whose business is description ought to be tolerably conversant with the poets in some language or other, that he may imbibe a poetical spirit and enlarge his stock of ideas.He ought to acquire a habit of comparing and divesting his notions.He ought not to be wholly unacquainted with that part of philosophy which gives him an insight into human nature, and relates to the manners, characters, passions, and affections.He ought to know something concerning the mind, as well as a great deal concerning the body of man.
For this purpose, it is not necessary that he should go into such acompass of reading, as must, by distracting his attention, disqualify him for the practical part of his profession, and make him sink the performer in the critic.Reading, if it can be made the favourite recreation of his leisure hours, will improve and enlarge his mind without retarding his actual industry.
What such partial and desultory reading cannot afford, may be supplied by the conversation of learned and ingenious men, which is the best of all substitutes for those who have not the means or opportunities of deep study.There are many such men in this age; and they will be pleased with communicating their ideas to artists, when they see them curious and docile, if they are treated with that respect and deference which is so justly their due.Into such society, young artists, if they make it the point of their ambition, will by degrees be admitted.There, without formal teaching, they will insensibly come to feel and reason like those they live with, and find a rational and systematic taste imperceptibly formed in their minds, which they will know how to reduce to a standard, by applying general truth to their own purposes, better perhaps than those to whom they owed the original sentiment.
Of these studies and this conversation, the desired and legitimate offspring is a power of distinguishing right from wrong, which power applied to works of art is denominated taste.Let me then, without further introduction, enter upon an examination whether taste be so far beyond our reach as to be unattainable by care, or be so very vague and capricious that no care ought to be employed about it.
It has been the fate of arts to be enveloped in mysterious and incomprehensible language, as if it was thought necessary that even the terms should correspond to the idea entertained of the instability and uncertainty of the rules which they expressed.
To speak of genius and taste as any way connected with reason or common sense, would be, in the opinion of some towering talkers, to speak like a man who possessed neither, who had never felt that enthusiasm, or, to use their own inflated language, was never warmed by that Promethean fire, which animates the canvas and vivifies the marble.
If, in order to be intelligible, I appear to degrade art by bringing herdown from her visionary situation in the clouds, it is only to give her a more solid mansion upon the earth.It is necessary that at some time or other we should see things as they really are, and not impose on ourselves by that false magnitude with which objects appear when viewed indistinctly as through a mist.
We will allow a poet to express his meaning, when his meaning is not well known to himself, with a certain degree of obscurity, as it is one source of the sublime.But when, in plain prose, we gravely talk of courting the muse in shady bowers, waiting the call and inspiration of genius, finding out where he inhabits, and where he is to be invoked with the greatest success; of attending to times and seasons when the imagination shoots with the greatest vigour, whether at the summer solstice or the equinox, sagaciously observing how much the wild ******* and liberty of imagination is cramped by attention to established rules, and how this same imagination begins to grow dim in advanced age, smothered and deadened by too much judgment.When we talk such language, or entertain such sentiments as these, we generally rest contented with mere words, or at best entertain notions not only groundless, but pernicious.
