happens to these great masters of grace and elegance. They often boldly drive on to the very verge of ridicule; the spectator is alarmed, but at the same time admires their vigour and intrepidity :

Strange graces still, and stranger flights they had,

Yet ne'er so sure our passion to create,

As when they touch'd the brink of all we hate.

The errors of genius, however, are pardonable, and none even of the more exalted painters are wholly free from them; but they have taught us, by the rectitude of their general practice, to correct their own affected or accidental deviation. The very first have not been always upon their guard, and perhaps there is not a fault but what may take shelter under the most venerable authorities; yet that style only is perfect, in which the noblest principles are uniformly pursued ; and those masters only are entitled to the first rank in our estimation who have enlarged the boundaries of their art, and have raised it to its highest dignity, by exhibiting the general ideas of nature.

On the whole, it seems to me that there is but one presiding principle which regulates and gives stability to every art. The works, whether of poets, painters, moralists, or historians, which are built upon general nature, live for ever; while those which depend for their existence on particular customs and habits, a partial view of nature, or the fluctuation of fashion, can only be coeval with that which first raised them from obscurity. Present time and future may be considered as rivals; and he who solicits the one must expect to be discountenanced by the other.

DISCOURSE V.

Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, December 10. 1772.

CIRCUMSPECTION REQUIRED IN ENDEAVOURING TO UNITE CONTRARY EXCELLENCES. THE EXPRESSION OF A MIXED PASSION NOT TO BE ATTEMPTED. EXAMPLES OF THOSE WHO EXCELLED IN THE GREAT STYLE.- RAFFAELLE, MICHAEL ANGELO, THOSE TWO EXTRAORDINARY MEN COMPARED WITH EACH OTHER. THE CHARACTERISTICAL STYLE. — SALVATOR ROSA MENTIONED AS AN EXAMPLE OF THAT STYLE ; AND OPPOSED TO CARLO MARATTI. — SKETCH OF THE CHARACTERS OF POUSSIN AND RUBENS. THESE TWO PAINTERS ENTIRELY DISSIMILAR, BUT CONSISTENT WITH

THEMSELVES.

THE ART.

THIS CONSISTENCY REQUIRED IN ALL PARTS OF

GENTLEMEN,

I PURPOSE to carry on in this discourse the subject which I began in my last. It was my wish upon that occasion to incite you to pursue the higher excellences of the art. But I fear that in this particular I have been misunderstood. Some are ready to imagine, when any of their favourite acquirements in the art are properly classed, that they are utterly disgraced. This is a very great mistake: nothing has its proper lustre but in its proper place. That which is most worthy of esteem in its allotted sphere, becomes an object, not of respect, but of derision, when it is forced into a higher, to which it is not suited; and there it becomes doubly a source of disorder, by occupying a situation which is not natural to it, and by putting down from the first place what is in reality of too much magnitude to become with grace and proportion that subordinate

station, to which something of less value would be much better suited.

My advice, in a word, is this:- Keep your principal attention fixed upon the higher excellences. If you compass them, and compass nothing more, you are still in the first class. We may regret the innumerable beauties which you may want; you may be very imperfect but still you are an imperfect artist of the highest order.

If when you have got thus far, you can add any, or all, of the subordinate qualifications, it is my wish and advice that you should not neglect them. But this is as much a matter of circumspection and caution at least, as of eagerness and pursuit.

The mind is apt to be distracted by a multiplicity of objects; and that scale of perfection which I wish always to be preserved, is in the greatest danger of being totally disordered, and even inverted.

Some excellences bear to be united, and are improved by union; others are of a discordant nature; and the attempt to join them, only produces a harsh jarring of incongruent principles. The attempt to unite contrary excellences (of form, for instance) in a single figure, can never escape degenerating into the monstrous, but by sinking into the insipid; by taking away its marked character, and weakening its expression.

This remark is true to a certain degree with regard to the passions. If you mean to preserve the most perfect beauty in its most perfect state, you cannot express the passions, all of which produce distortion and deformity, more or less in the most beautiful faces.

Guido, from want of choice in adapting his subject to his ideas and his powers, or from attempting to pre

DISCOURSE V.

Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, December 10. 1772.

CIRCUMSPECTION REQUIRED IN ENDEAVOURING TO UNITE CONTRARY EXCELLENCES. THE EXPRESSION OF A MIXED PASSION NOT TO BE ATTEMPTED. EXAMPLES OF THOSE WHO EXCELLED IN THE GREAT STYLE. - RAFFAELLE, MICHAEL ANGELO, THOSE TWO EXTRAORDINARY MEN COMPARED WITH EACH OTHER. — THE CHARACTERISTICAL STYLE. SALVATOR ROSA MENTIONED AS AN EXAMPLE OF THAT STYLE; AND OPPOSED TO CARLO MARATTI.SKETCH OF THE CHARACTERS OF POUSSIN AND RUBENS. THESE TWO PAINTERS ENTIRELY DISSIMILAR, BUT CONSISTENT WITH THEMSELVES. THIS CONSISTENCY REQUIRED IN ALL PARTS OF THE ART.

GENTLEMEN,

I PURPOSE to carry on in this discourse the subject which I began in my last. It was my wish upon that occasion to incite you to pursue the higher excellences of the art. But I fear that in this particular I have been misunderstood. Some are ready to imagine, when any of their favourite acquirements in the art are properly classed, that they are utterly disgraced. This is a very great mistake: nothing has its proper lustre but in its proper place. That which is most worthy of esteem in its allotted sphere, becomes an object, not of respect, but of derision, when it is forced into a higher, to which it is not suited; and there it becomes doubly a source of disorder, by occupying a situation which is not natural to it, and by putting down from the first place what is in reality of too much magnitude to become with grace and proportion that subordinate

station, to which something of less value would be

much better suited.

My advice, in a word, is this:- Keep your principal attention fixed upon the higher excellences. If you compass them, and compass nothing more, you are still in the first class. We may regret the innumerable beauties which you may want; you may be very imperfect: but still you are an imperfect artist of the highest order.

If when you have got thus far, you can add any, or all, of the subordinate qualifications, it is my wish and advice that you should not neglect them. But this is as much a matter of circumspection and caution at least, as of eagerness and pursuit.

The mind is apt to be distracted by a multiplicity of objects; and that scale of perfection which I wish always to be preserved, is in the greatest danger of being totally disordered, and even inverted.

Some excellences bear to be united, and are improved by union; others are of a discordant nature; and the attempt to join them, only produces a harsh jarring of incongruent principles. The attempt to unite contrary excellences (of form, for instance) in a single figure, can never escape degenerating into the monstrous, but by sinking into the insipid; by taking away its marked character, and weakening its expres

sion.

This remark is true to a certain degree with regard to the passions. If you mean to preserve the most perfect beauty in its most perfect state, you cannot express the passions, all of which produce distortion and deformity,

more or less in the most beautiful faces.

Guido, from want of choice in adapting his subject to his ideas and his powers, or from attempting to pre