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 purport of this Discourse, and, indeed, of most of my other Discourses, is, to caution you against that false opinion, but too prevalent among artists, of the imaginary powers 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 as you can, in the order, in the manner, and on the principles, on which they studied. Study nature attentively, but always with those masters in your company; consider them as models which you are to imitate, and at the same time as rivals with whom you are to contend.

DISCOURSE VII.

DELIVERED TO THE STUDENTS OF

THE ROYAL ACADEMY,

ON THE

DISTRIBUTION OF THE PRIZES,

DECEMBER 10, 1776.

VOL. I.

DISCOURSE VII.

The reality of a standard of Taste, as well as of corporal Beauty. Beside this immutable Truth, there are secondary Truths, which are variable; both requiring the attention of the Artist, in proportion to their stability or their influence.

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 kinds 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 habit of comparing and digesting his notions. He ought not to be wholly unacquainted with that part of philosophy which gives 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 a compass of reading, as must, by distracting his attention, disqualify him for the practical part of his profession, and make him sink the