seven discourses on art(艺术七讲座)-第19节
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perfectly of a piece with the general air of the picture。 On the contrary； if
the figures which people his pictures had a modern air or countenance； if
they appeared like our countrymen； if the draperies were like cloth or silk
of our manufacture； if the landscape had the appearance of a modern view；
how ridiculous would Apollo appear instead of the sun； an old man or a
nymph with an urn instead of a river or lake。
I cannot avoid mentioning here a circumstance in portrait painting
which may help to confirm what has been said。
When a portrait is painted in the historical style； as it is neither an
exact minute representation of an individual nor completely ideal； every
circumstance ought to correspond to this mixture。 The simplicity of the
antique air and attitude； however much to be admired； is ridiculous when
joined to a figure in a modern dress。 It is not to my purpose to enter into
the question at present； whether this mixed style ought to be adopted or
not； yet if it is chosen it is necessary it should be complete and all of a
piece： the difference of stuffs； for instance； which make the clothing；
should be distinguished in the same degree as the head deviates from a
general idea。
Without this union； which I have so often recommended； a work can
have no marked and determined character； which is the peculiar and
constant evidence of genius。 But when this is accomplished to a high
degree； it becomes in some sort a rival to that style which we have fixed as
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the highest。
Thus I have given a sketch of the characters of Rubens and Salvator
Rosa； as they appear to me to have the greatest uniformity of mind
throughout their whole work。 But we may add to these； all these artists
who are at the head of the class； and have had a school of imitators from
Michael Angelo down to Watteau。 Upon the whole it appears that setting
aside the ornamental style； there are two different paths； either of which a
student may take without degrading the dignity of his art。 The first is to
combine the higher excellences and embellish them to the greatest
advantage。 The other is to carry one of these excellences to the highest
degree。 But those who possess neither must be classed with them； who；
as Shakespeare says； are men of no mark or likelihood。
I inculcate as frequently as I can your forming yourselves upon great
principles and great models。 Your time will be much misspent in every
other pursuit。 Small excellences should be viewed； not studied； they
ought to be viewed； because nothing ought to escape a painter's
observation； but for no other reason。
There is another caution which I wish to give you。 Be as select in
those whom you endeavour to please； as in those whom you endeavour to
imitate。 Without the love of fame you can never do anything excellent；
but by an excessive and undistinguishing thirst after it； you will come to
have vulgar views； you will degrade your style； and your taste will be
entirely corrupted。 It is certain that the lowest style will be the most
popular； as it falls within the compass of ignorance itself； and the vulgar
will always be pleased with what is natural in the confined and
misunderstood sense of the word。
One would wish that such depravation of taste should be counteracted；
with such manly pride as Euripides expressed to the Athenians； who
criticised his works； 〃I do not compose；〃 says he； 〃my works in order to be
corrected by you； but to instruct you。〃 It is true； to have a right to speak
thus； a man must be a Euripides。 However； thus much may be allowed；
that when an artist is sure that he is upon firm ground； supported by the
authority and practice of his predecessors of the greatest reputation； he
may then assume the boldness and intrepidity of genius； at any rate； he
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must not be tempted out of the right path by any tide of popularity that
always accompanies the lower styles of painting。
I mention this； because our exhibitions； that produce such admirable
effects by nourishing emulation； and calling out genius； have also a
mischievous tendency by seducing the painter to an ambition of pleasing
indiscriminately the mixed multitude of people who resort to them。
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A DISCOURSE VI
Delivered to the Students of the Royal Academy on the
Distribution of the Prizes； December 10； 1774； by the President。
Gentlemen；When I have taken the liberty of addressing you on the
course and order of your studies； I never proposed to enter into a minute
detail of the art。 This I have always left to the several professors； who
pursue the end of our institution with the highest honour to themselves；
and with the greatest advantage to the students。
My purpose in the discourses I have held in the Academy is to lay
down certain general ideas； which seem to me proper for the formation of
a sound taste； principles necessary to guard the pupils against those errors
into which the sanguine temper common at their time of life； has a
tendency to lead them； and which have rendered abortive the hopes of so
many successions of promising young men in all parts of Europe。
I wish； also； to intercept and suppress those prejudices which
particularly prevail when the mechanism of painting is come to its
perfection； and which when they do prevail are certain to prevail to the
utter destruction of the higher and more valuable parts of this literate and
liberal profession。
These two have been my principal purposes； they are still as much my
concern as ever； and if I repeat my own ideas on the subject； you who
know how fast mistake and prejudice； when neglected； gain ground upon
truth and reason； will easily excuse me。 I only attempt to set the same
thing in the greatest variety of lights。
The subject of this discourse will be imitation； as far as a painter is
concerned in it。 By imitation I do not mean imitation in its largest sense；
but simply the following of other masters； and the advantage to be drawn
from the study of their works。
Those who have undertaken to write on our art； and have represented it
as a kind of inspiration； as a gift bestowed upon peculiar favourites at their
birth； seem to ensure a much more favourable disposition from their
readers； and have a much more captivating and liberal air； than he who
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goes about to examine； coldly； whether there are any means by which this
art may be acquired； how our mind may be strengthened and expanded；
and what guides will show the way to eminence。
It is very natural for those who are unacquainted with the cause of
anything extraordinary to be astonished at the effect； and to consider it as a
kind of magic。 They； who have never observed the gradation by which
art is acquired； who see only what is the full result of long labour and
application of an infinite number； and infinite variety of acts； are apt to
conclude from their entire inability to do the same at once； that it is not
only inaccessible to themselves； but can be done by those only who have
some gift of the nature of inspiration bestowed upon them。
The travellers into the East tell us that when the ignorant inhabitants of
these countries are asked concerning the ruins of stately edifices yet
remaining amongst them； the melancholy monuments of their former
grandeur
