Thisistheideawhichhasacquired，andwhichseemstohavearighttotheepithetofDivine;asitmaybesaidtopreside，likeasupremejudge，overalltheproductionsofnature;appearingtobepossessedofthewillandintentionoftheCreator，asfarastheyregardtheexternalformoflivingbeings。
Whenamanoncepossessesthisideainitsperfection，thereisnodangerbutthathewillhesufficientlywarmedbyithimself，andbeabletowarmandravisheveryoneelse。
Thusitisfromareiteratedexperience，andaclosecomparisonoftheobjectsinnature，thatanartistbecomespossessedoftheideaofthatcentralform，ifImaysoexpressit，fromwhicheverydeviationisdeformity。ButtheinvestigationofthisformIgrantispainful，andIknowbutofonemethodofshorteningtheroad;
thisis，byacarefulstudyoftheworksoftheancientsculptors;
who，beingindefatigableintheschoolofnature，haveleftmodelsofthatperfectformbehindthem，whichanartistwouldpreferassupremelybeautiful，whohadspenthiswholelifeinthatsinglecontemplation。Butifindustrycarriedthemthusfar，maynotyoualsohopeforthesamerewardfromthesamelabour？Wehavethesameschoolopenedtousthatwasopenedtothem;fornaturedeniesherinstructionstononewhodesiretobecomeherpupils。
TotheprincipleIhavelaiddown，thattheideaofbeautyineachspeciesofbeingsisinvariablyone，itmaybeobjectedthatineveryparticularspeciestherearevariouscentralforms，whichareseparateanddistinctfromeachother，andyetareundeniablybeautiful;thatinthehumanfigure，forinstance，thebeautyoftheHerculesisone，ofthegladiatoranother，oftheApolloanother，whichmakessomanydifferentideasofbeauty。
Itistrue，indeed，thatthesefiguresareeachperfectintheirkind，thoughofdifferentcharactersandproportions;butstillnoneofthemistherepresentationofanindividual，butofaclass。Andasthereisonegeneralform，which，asIhavesaid，belongstothehumankindatlarge，soineachoftheseclassesthereisonecommonideaandcentralform，whichistheabstractofthevariousindividualformsbelongingtothatclass。Thus，thoughtheformsofchildhoodandagedifferexceedingly，thereisacommonforminchildhood，andacommonforminage，——whichisthemoreperfect，asitismoreremotefromallpeculiarities。ButI
mustaddfurther，thatthoughthemostperfectformsofeachofthegeneraldivisionsofthehumanfigureareideal，andsuperiortoanyindividualformofthatclass，yetthehighestperfectionofthehumanfigureisnottobefoundinanyoneofthem。ItisnotintheHercules，norinthegladiator，norintheApollo;butinthatformwhichistakenfromthemall，andwhichpartakesequallyoftheactivityofthegladiator，ofthedelicacyoftheApollo，andofthemuscularstrengthoftheHercules。Forperfectbeautyinanyspeciesmustcombineallthecharacterswhicharebeautifulinthatspecies。Itcannotconsistinanyonetotheexclusionoftherest：noone，therefore，mustbepredominant，thatnoonemaybedeficient。
Theknowledgeofthesedifferentcharacters，andthepowerofseparatinganddistinguishingthem，isundoubtedlynecessarytothepainter，whoistovaryhiscompositionswithfiguresofvariousformsandproportions，thoughheisnevertolosesightofthegeneralideaofperfectionineachkind。
Thereis，likewise，akindofsymmetryorproportion，whichmayproperlybesaidtobelongtodeformity。Afigureleanorcorpulent，tallorshort，thoughdeviatingfrombeauty，maystillhaveacertainunionofthevariousparts，whichmaycontributetomakethem，onthewhole，notunpleasing。Whentheartisthasbydiligentattentionacquiredaclearanddistinctideaofbeautyandsymmetry;whenhehasreducedthevarietyofnaturetotheabstractidea;hisnexttaskwillbetobecomeacquaintedwiththegenuinehabitsofnature，asdistinguishedfromthoseoffashion。Forinthesamemanner，andonthesameprinciples，ashehasacquiredtheknowledgeoftherealformsofnature，distinctfromaccidentaldeformity，hemustendeavourtoseparatesimplechastenaturefromthoseadventitious，thoseaffectedandforcedairsoractions，withwhichsheisloadedbymoderneducation。
PerhapsIcannotbetterexplainwhatImeanthanbyremindingyouofwhatwastaughtusbytheProfessorofAnatomy，inrespecttothenaturalpositionandmovementofthefeet。Heobservedthatthefashionofturning，themoutwardswascontrarytotheintentofnature，asmightbeseenfromthestructureofthebones，andfromtheweaknessthatproceededfromthatmannerofstanding。Tothiswemayaddtheerectpositionofthehead，theprojectionofthechest，thewalkingwithstraightknees，andmanysuchactions，whicharemerelytheresultoffashion，andwhatnatureneverwarranted，aswearesurethatwehavebeentaughtthemwhenchildren。
Ihavementionedbutafewofthoseinstances，inwhichvanityorcapricehavecontrivedtodistortanddisfigurethehumanform;
yourownrecollectionwilladdtotheseathousandmoreofill-
understoodmethods，thathavebeenpractisedtodisguisenature，amongourdancing-masters，hair-dressers，andtailors，intheirvariousschoolsofdeformity。
Howeverthemechanicandornamentalartsmaysacrificetofashion，shemustbeentirelyexcludedfromtheartofpainting;thepaintermustnevermistakethiscapriciouschangelingforthegenuineoffspringofnature;hemustdivesthimselfofallprejudicesinfavourofhisageorcountry;hemustdisregardalllocalandtemporaryornaments，andlookonlyonthosegeneralhabitsthatareeverywhereandalwaysthesame。Headdresseshisworkstothepeopleofeverycountryandeveryage;hecallsuponposteritytobehisspectators，andsayswithZeuxis，Inaeternitatempingo。
Theneglectofseparatingmodernfashionsfromthehabitsofnature，leadstothatridiculousstylewhichhasbeenpractisedbysomepainterswhohavegiventoGrecianheroestheairsandgracespractisedinthecourtofLouisXIV。;anabsurdityalmostasgreatasitwouldhavebeentohavedressedthemafterthefashionofthatcourt。
Toavoidthiserror，however，andtoretainthetruesimplicityofnature，isataskmoredifficultthanatfirstsightitmayappear。
Theprejudicesinfavourofthefashionsandcustomsthatwehavebeenusedto，andwhicharejustlycalledasecondnature，makeittoooftendifficulttodistinguishthatwhichisnaturalfromthatwhichistheresultofeducation;theyfrequentlyevengiveapredilectioninfavouroftheartificialmode;andalmosteveryoneisapttobeguidedbythoselocalprejudiceswhohasnotchastisedhismind，andregulatedtheinstabilityofhisaffections，bytheeternalinvariableideaofnature。
Here，then，asbefore，wemusthaverecoursetotheancientsasinstructors。Itisfromacarefulstudyoftheirworksthatyouwillbeenabledtoattaintotherealsimplicityofnature;theywillsuggestmanyobservations，whichwouldprobablyescapeyou，ifyourstudywereconfinedtonaturealone。And，indeed，Icannothelpsuspecting，thatinthisinstancetheancientshadaneasiertaskthanthemoderns。Theyhad，probably，littleornothingtounlearn，astheirmannerswerenearlyapproachingtothisdesirablesimplicity;whilethemodernartist，beforehecanseethetruthofthings，isobligedtoremoveaveil，withwhichthefashionofthetimeshasthoughtpropertocoverher。
Havinggonethusfarinourinvestigationofthegreatstyleinpainting;ifwenowshouldsupposethattheartisthasformedthetrueideaofbeauty，whichenableshimtogivehisworksacorrectandperfectdesign;ifweshouldsupposealsothathehasacquiredaknowledgeoftheunadulteratedhabitsofnature，whichgiveshimsimplicity;therestofhistalkis，perhaps，lessthanisgenerallyimagined。Beautyandsimplicityhavesogreatashareinthecompositionofagreatstyle，thathewhohasacquiredthemhaslittleelsetolearn。Itmustnot，indeed，beforgotthatthereisanoblenessofconception，whichgoesbeyondanythinginthemereexhibition，evenofperfectform;thereisanartofanimatinganddignifyingthefigureswithintellectualgrandeur，ofimpressingtheappearanceofphilosophicwisdomorheroicvirtue。Thiscanonlybeacquiredbyhimthatenlargesthesphereofhisunderstandingbyavarietyofknowledge，andwarmshisimaginationwiththebestproductionsofancientandmodernpoetry。
Ahandthusexercised，andamindthusinstructed，willbringthearttoahigherdegreeofexcellencethan，perhaps，ithashithertoattainedinthiscountry。Suchastudentwilldisdainthehumblerwalksofpainting，which，howeverprofitable，canneverassurehimapermanentreputation。Hewillleavethemeanerartistservilelytosupposethatthosearethebestpictureswhicharemostlikelytodeceivethespectator。Hewillpermitthelowerpainter，likethefloristorcollectorofshells，toexhibittheminutediscriminationswhichdistinguishoneobjectofthesamespeciesfromanother;whilehe，likethephilosopher，willconsidernatureintheabstract，andrepresentineveryoneofhisfiguresthecharacterofitsspecies。
Ifdeceivingtheeyeweretheonlybusinessoftheart，thereisnodoubt，indeed，buttheminutepainterwouldbemoreapttosucceed：
butitisnottheeye，itisthemind，whichthepainterofgeniusdesirestoaddress;norwillhewasteamomentuponthesesmallerobjects，whichonlyservetocatchthesense，todividetheattention，andtocounteracthisgreatdesignofspeakingtotheheart。
ThisistheambitionIcouldwishtoexciteinyourminds;andtheobjectIhavehadinmyview，throughoutthisdiscourse，isthatonegreatideawhichgivestopaintingitstruedignity，thatentitlesittothenameofaLiberalArt，andranksitasasisterofpoetry。
Itmaypossiblyhavehappenedtomanyyoungstudentswhoseapplicationwassufficienttoovercomealldifficulties，andwhosemindswerecapableofembracingthemostextensiveviews，thattheyhave，byawrongdirectionoriginallygiven，spenttheirlivesinthemeanerwalksofpainting，withouteverknowingtherewasanoblertopursue。"AlbertDurer，"asVasarihasjustlyremarked，"wouldprobablyhavebeenoneofthefirstpaintersofhisage（andhelivedinaneraofgreatartists）hadhebeeninitiatedintothosegreatprinciplesoftheartwhichweresowellunderstoodandpractisedbyhiscontemporariesinItaly。Butunluckily，havingneverseenorheardofanyothermanner，heconsideredhisown，withoutdoubt，asperfect。"
Asforthevariousdepartmentsofpainting，whichdonotpresumetomakesuchhighpretensions，theyaremany。Noneofthemarewithouttheirmerit，thoughnoneenterintocompetitionwiththisgreatuniversalpresidingideaoftheart。Thepainterswhohaveappliedthemselvesmoreparticularlytolowandvulgarcharacters，andwhoexpresswithprecisionthevariousshadesofpassion，astheyareexhibitedbyvulgarminds（suchasweseeintheworksofHogarth）deservegreatpraise;butastheirgeniushasbeenemployedonlowandconfinedsubjects，thepraisethatwegivemustbeaslimitedasitsobject。ThemerrymakingorquarrellingoftheBoorsofTeniers;thesamesortofproductionsofBrouwer，orOstade，areexcellentintheirkind;andtheexcellenceanditspraisewillbeinproportion，as，inthoselimitedsubjectsandpeculiarforms，theyintroducemoreorlessoftheexpressionofthosepassions，astheyappearingeneralandmoreenlargednature。
ThisprinciplemaybeappliedtothebattlepiecesofBourgognone，theFrenchgallantriesofWatteau，andevenbeyondtheexhibitionofanimallife，tothelandscapesofClaudeLorraine，andthesea-
viewsofVandervelde。Allthesepaintershave，ingeneral，thesameright，indifferentdegrees，tothenameofapainter，whichasatirist，anepigrammatist，asonnetteer，awriterofpastorals，ordescriptivepoetry，hastothatofapoet。
Inthesamerank，and，perhaps，ofnotsogreatmerit，isthecoldpainterofportraits。Buthiscorrectandjustimitationofhisobjecthasitsmerit。Eventhepainterofstilllife，whosehighestambitionistogiveaminuterepresentationofeverypartofthoselowobjects，whichhesetsbeforehim，deservespraiseinproportiontohisattainment;becausenopartofthisexcellentart，somuchtheornamentofpolishedlife，isdestituteofvalueanduse。These，however，arebynomeanstheviewstowhichthemindofthestudentoughttobePRIMARILYdirected。Byaimingatbetterthings，iffromparticularinclination，orfromthetasteofthetimeandplacehelivesin，orfromnecessity，orfromfailureinthehighestattempts，heisobligedtodescendlower;hewillbringintothelowersphereofartagrandeurofcompositionandcharacterthatwillraiseandennoblehisworksfarabovetheirnaturalrank。
Amanisnotweak，thoughhemaynotbeabletowieldtheclubofHercules;nordoesamanalwayspractisethatwhichheesteemsthebeat;butdoesthatwhichhecanbestdo。Inmoderateattempts，therearemanywalksopentotheartist。Butastheideaofbeautyisofnecessitybutone，sotherecanbebutonegreatmodeofpainting;theleadingprincipleofwhichIhaveendeavouredtoexplain。
Ishouldbesorryifwhatishererecommendedshouldbeatallunderstoodtocountenanceacarelessorindeterminedmannerofpainting。Forthoughthepainteristooverlooktheaccidentaldiscriminationsofnature，heistopronouncedistinctly，andwithprecision，thegeneralformsofthings。Afirmanddeterminedoutlineisoneofthecharacteristicsofthegreatstyleinpainting;and，letmeadd，thathewhopossessestheknowledgeoftheexactform，thateverypartofnatureoughttohave，willbefondofexpressingthatknowledgewithcorrectnessandprecisioninallhisworks。
Toconclude：Ihaveendeavouredtoreducetheideaofbeautytogeneralprinciples。AndIhadthepleasuretoobservethattheprofessorofpaintingproceededinthesamemethod，whenheshowedyouthattheartificeofcontrastwasfoundedbutononeprinciple。
AndIamconvincedthatthisistheonlymeansofadvancingscience，ofclearingthemindfromaconfusedheapofcontradictoryobservations，thatdobutperplexandpuzzlethestudentwhenhecomparesthem，ormisguidehimifhegiveshimselfuptotheirauthority;butbringingthemunderonegeneralheadcanalonegiverestandsatisfactiontoaninquisitivemind。
ADISCOURSE
DeliveredtotheStudentsoftheRoyalAcademyontheDistributionofthePrizes，December10，1771，bythePresident。
Gentlemen，——Thevalueandrankofeveryartisinproportiontothementallabouremployedinit，orthementalpleasureproducedbyit。Asthisprincipleisobservedorneglected，ourprofessionbecomeseitheraliberalartoramechanicaltrade。Inthehandsofonemanitmakesthehighestpretensions，asitisaddressedtothenoblestfaculties，Inthoseofanotheritisreducedtoamerematterofornament，andthepainterhasbutthehumbleprovinceoffurnishingourapartmentswithelegance。
Thisexertionofmind，whichistheonlycircumstancethattrulyennoblesourart，makesthegreatdistinctionbetweentheRomanandVenetianschools。Ihaveformerlyobservedthatperfectformisproducedbyleavingoutparticularities，andretainingonlygeneralideas。Ishallnowendeavourtoshowthatthisprinciple，whichI
haveprovedtobemetaphysicallyjust，extendsitselftoeverypartoftheart;thatitgiveswhatiscalledthegrandstyletoinvention，tocomposition，toexpression，andeventocolouringanddrapery。
Inventioninpaintingdoesnotimplytheinventionofthesubject，forthatiscommonlysuppliedbythepoetorhistorian。Withrespecttothechoice，nosubjectcanbeproperthatisnotgenerallyinteresting。Itoughttobeeithersomeeminentinstanceofheroicactionorheroicsuffering。Theremustbesomethingeitherintheactionorintheobjectinwhichmenareuniversallyconcerned，andwhichpowerfullystrikesuponthepublicsympathy。
Strictlyspeaking，indeed，nosubjectcanbeofuniversal，hardlycanitbeofgeneralconcern：butthereareeventsandcharacterssopopularlyknowninthosecountrieswhereourartisinrequest，thattheymaybeconsideredassufficientlygeneralforallourpurposes。SucharethegreateventsofGreekandRomanfableandhistory，whichearlyeducationandtheusualcourseofreadinghavemadefamiliarandinterestingtoallEurope，withoutbeingdegradedbythevulgarismofordinarylifeinanycountry。Such，too，arethecapitalsubjectsofScripturehistory，which，besidestheirgeneralnotoriety，becomevenerablebytheirconnectionwithourreligion。
Asitisrequiredthatthesubjectselectedshouldbeageneralone，itisnolessnecessarythatitshouldbekeptunembarrassedwithwhatevermayanywayservetodividetheattentionofthespectator。Wheneverastoryisrelated，everymanformsapictureinhismindoftheactionandtheexpressionofthepersonsemployed。Thepowerofrepresentingthismentalpictureincanvasiswhatwecallinventioninapainter。Andasintheconceptionofthisidealpicturetheminddoesnotenterintotheminutepeculiaritiesofthedress，furniture，orsceneofaction，sowhenthepaintercomestorepresentithecontrivesthoselittlenecessaryconcomitantcircumstancesinsuchamannerthattheyshallstrikethespectatornomorethantheydidhimselfinhisfirstconceptionofthestory。
Iamveryreadytoallowthatsomecircumstancesofminutenessandparticularityfrequentlytendtogiveanairoftruthtoapiece，andtointerestthespectatorinanextraordinarymanner。Suchcircumstances，therefore，cannotwhollyberejected;butiftherebeanythingintheartwhichrequirespeculiarnicetyofdiscernment，itisthedispositionoftheseminutecircumstantialpartswhich，accordingtothejudgmentemployedinthechoice，becomesousefultotruthorsoinjurioustograndeur。
However，theusualandmostdangerouserrorisonthesideofminuteness，and，therefore，Ithinkcautionmostnecessarywheremosthavefailed。Thegeneralideaconstitutesrealexcellence。
Allsmallerthings，howeverperfectintheirway，aretobesacrificedwithoutmercytothegreater。Thepainterwillnotinquirewhatthingsmaybeadmittedwithoutmuchcensure。Hewillnotthinkitenoughtoshowthattheymaybethere;hewillshowthattheymustbethere，thattheirabsencewouldrenderhispicturemaimedanddefective。
Thus，thoughtotheprincipalgroupasecondorthirdbeadded，andasecondandthirdmassoflight，caremustbeyettakenthatthesesubordinateactionsandlights，neithereachinparticular，noralltogether，comeintoanydegreeofcompetitionwiththeprincipal;
theyshouldmakeapartofthatwholewhichwouldbeimperfectwithoutthem。Toeverypartofpaintingthisrulemaybeapplied。
Eveninportraits，thegraceand，wemayadd，thelikeness，consistsmoreintakingthegeneralairthaninobservingtheeffectsimilitudeofeveryfeature。
Thusfiguresmusthaveagroundwhereontostand;theymustbeclothed，theremustbeabackground，theremustbelightandshadow;butnoneoftheseoughttoappeartohavetakenupanypartoftheartist’sattention。Theyshouldbesomanagedasnoteventocatchthatofthespectator。Weknowwellenough，whenweanalyseapiece，thedifficultyandthesubtletywithwhichanartistadjuststhebackground，drapery，andmassesoflight;weknowthataconsiderablepartofthegraceandeffectofhispicturedependsuponthem;butthisartissomuchconcealed，eventoajudiciouseye，thatnoremainsofanyofthesesubordinatepartsoccurtomemorywhenthepictureisnotpresent。
Thegreatendoftheartistostriketheimagination。Thepainteris，therefore，tomakenoostentationofthemeansbywhichthisisdone;thespectatorisonlytofeeltheresultinhisbosom。Aninferiorartistisunwillingthatanypartofhisindustryshouldbelostuponthespectator。Hetakesasmuchpainstodiscover，asthegreaterartistdoestoconceal，themarksofhissubordinateassiduity。Inworksofthelowerkindeverythingappearsstudiedandencumbered;itisallboastfulartandopenaffectation。Theignorantoftenpartfromsuchpictureswithwonderintheirmouths，andindifferenceintheirhearts。
Butitisnotenoughininventionthattheartistshouldrestrainandkeepunderalltheinferiorpartsofhissubject;hemustsometimesdeviatefromvulgarandstricthistoricaltruthinpursuingthegrandeurofhisdesign。
Howmuchthegreatstyleexactsfromitsprofessorstoconceiveandrepresenttheirsubjectsinapoeticalmanner，notconfinedtomerematteroffact，maybeseeninthecartoonsofRaffaelle。Inallthepicturesinwhichthepainterhasrepresentedtheapostles，hehasdrawnthemwithgreatnobleness;hehasgiventhemasmuchdignityasthehumanfigureiscapableofreceivingyetweareexpresslytoldinScripturetheyhadnosuchrespectableappearance;andofSt。Paulinparticular，wearetoldbyhimself，thathisbodilypresencewasmean。Alexanderissaidtohavebeenofalowstature：apainteroughtnotsotorepresenthim。
Agesilauswaslow，lame，andofameanappearance。Noneofthesedefectsoughttoappearinapieceofwhichheisthehero。Inconformitytocustom，Icallthispartofthearthistorypainting;
itoughttobecalledpoetical，asinrealityitis。
Allthisisnotfalsifyinganyfact;itistakinganallowedpoeticallicence。Apainterofportraitsretainstheindividuallikeness;apainterofhistoryshowsthemanbyshowinghisactions。Apaintermustcompensatethenaturaldeficienciesofhisart。Hehasbutonesentencetoutter，butonemomenttoexhibit。
Hecannot，likethepoetorhistorian，expatiate，andimpressthemindwithgreatvenerationforthecharacteroftheheroorsaintherepresents，thoughheletsusknowatthesametimethatthesaintwasdeformed，ortheherolame。Thepainterhasnoothermeansofgivinganideaofthedignityofthemind，butbythatexternalappearancewhichgrandeurofthoughtdoesgenerally，thoughnotalways，impressonthecountenance，andbythatcorrespondenceoffiguretosentimentandsituationwhichallmenwish，butcannotcommand。Thepainter，whomayinthisoneparticularattainwitheasewhatothersdesireinvain，oughttogiveallthathepossiblycan，sincetherearesomanycircumstancesoftruegreatnessthathecannotgiveatall。Hecannotmakehisherotalklikeagreatman;hemustmakehimlooklikeone。Forwhichreasonheoughttobewellstudiedintheanalysisofthosecircumstanceswhichconstitutedignityofappearanceinreallife。
Asininvention，solikewisein，expression，caremustbetakennottorunintoparticularities，Thoseexpressionsaloneshouldbegiventothefigureswhichtheirrespectivesituationsgenerallyproduce。Noristhisenough;eachpersonshouldalsohavethatexpressionwhichmenofhisrankgenerallyexhibit。Thejoyorthegriefofacharacterofdignityisnottobeexpressedinthesamemannerasasimilarpassioninavulgarface。UponthisprincipleBernini，perhaps，maybesubjecttocensure。Thissculptor，inmanyrespectsadmirable，hasgivenaverymeanexpressiontohisstatueofDavid，whoisrepresentedasjustgoingtothrowthestonefromthesling;andinordertogiveittheexpressionofenergyhehasmadehimbitinghisunder-lip。Thisexpressionisfarfrombeinggeneral，andstillfartherfrombeingdignified。Hemighthaveseenitinaninstanceortwo，andhemistookaccidentforuniversality。
Withrespecttocolouring，thoughitmayappearatfirstapartofpaintingmerelymechanical，yetitstillhasitsrules，andthosegroundeduponthatpresidingprinciplewhichregulatesboththegreatandthelittleinthestudyofapainter。Bythis，thefirsteffectofthepictureisproduced;andasthisisperformedthespectator，ashewalksthegallery，willstop，orpassalong。Togiveageneralairofgrandeuratfirstview，alltriflingorartfulplayoflittlelightsoranattentiontoavarietyoftintsistobeavoided;aquietnessandsimplicitymustreignoverthewholework;towhichabreadthofuniformandsimplecolourwillverymuchcontribute。Grandeurofeffectisproducedbytwodifferentways，whichseementirelyopposedtoeachother。Oneis，byreducingthecolourstolittlemorethanchiaroscuro，whichwasoftenthepracticeoftheBolognianschools;andtheother，bymakingthecoloursverydistinctandforcible，suchasweseeinthoseofRomeandFlorence;butstill，thepresidingprincipleofboththosemannersissimplicity。Certainly，nothingcanbemoresimplethanmonotony，andthedistinctblue，red，andyellowcolourswhichareseeninthedraperiesoftheRomanandFlorentineschools，thoughtheyhavenotthatkindofharmonywhichisproducedbyavarietyofbrokenandtransparentcolours，havethateffectofgrandeurthatwasintended。Perhapsthesedistinctcoloursstrikethemindmoreforcibly，fromtherenotbeinganygreatunionbetweenthem;asmartialmusic，whichisintendedtorousethenoblepassions，hasitseffectfromthesuddenandstronglymarkedtransitionsfromonenotetoanother，whichthatstyleofmusicrequires;whilstinthatwhichisintendedtomovethesofterpassionsthenotesimperceptiblymeltintooneanother。
Inthesamemannerasthehistoricalpainterneverentersintothedetailofcolours，soneitherdoeshedebasehisconceptionswithminuteattentiontothediscriminationsofdrapery。Itistheinferiorstylethatmarksthevarietyofstuffs。Withhim，theclothingisneitherwoollen，norlinen，norsilk，satin，orvelvet：
itisdrapery;itisnothingmore。Theartofdisposingthefoldingsofthedraperymakeaveryconsiderablepartofthepainter’sstudy。Tomakeitmerelynaturalisamechanicaloperation，towhichneithergeniusortastearerequired;whereas，itrequiresthenicestjudgmenttodisposethedrapery，sothatthefoldshaveaneasycommunication，andgracefullyfolloweachother，withsuchnaturalnegligenceastolookliketheeffectofchance，andatthesametimeshowthefigureunderittotheutmostadvantage。
CarloMarattiwasofopinionthatthedispositionofdraperywasamoredifficultartthaneventhatofdrawingthehumanfigure;thatastudentmightbemoreeasilytaughtthelatterthantheformer;
astherulesofdrapery，hesaid，couldnotbesowellascertainedasthosefordelineatingacorrectform，This，perhaps，isaproofhowwillinglywefavourourownpeculiarexcellence。CarloMarattiissaidtohavevaluedhimselfparticularlyuponhisskillinthispartoftheartyetinhimthedispositionappearssoartificial，thatheisinferiortoRaffaelle，eveninthatwhichgavehimhisbestclaimtoreputationSuchisthegreatprinciplebywhichwemustbedirectedinthenoblerbranchesofourart。UponthisprincipletheRoman，theFlorentine，theBologneseschools，haveformedtheirpractice;andbythistheyhavedeservedlyobtainedthehighestpraise。Thesearethethreegreatschoolsoftheworldintheepicstyle。ThebestoftheFrenchschool，Poussin，LeSueur，andLeBrun，haveformedthemselvesuponthesemodels，andconsequentlymaybesaid，thoughFrenchmen，tobeacolonyfromtheRomanschool。Nexttothese，butinaverydifferentstyleofexcellence，wemayranktheVenetian，togetherwiththeFlemishandtheDutchschools，allprofessingtodepartfromthegreatpurposesofpainting，andcatchingatapplausebyinferiorqualities。
IamnotignorantthatsomewillcensuremeforplacingtheVenetiansinthisinferiorclass，andmanyofthewarmestadmirersofpaintingwillthinkthemunjustlydegraded;butIwishnottobemisunderstood。ThoughIcanbynomeansallowthemtoholdanyrankwiththenoblerschoolsofpainting，theyaccomplishedperfectlythethingtheyattempted。Butasmereeleganceistheirprincipalobject，astheyseemmorewillingtodazzlethantoaffect，itcanbenoinjurytothemtosupposethattheirpracticeisusefulonlytoitsproperend。Butwhatmayheightentheelegantmaydegradethesublime。Thereisasimplicity，andImayadd，severity，inthegreatmanner，whichis，Iamafraid，almostincompatiblewiththiscomparativelysensualstyle。
Tintoret，PaulVeronese，andothersoftheVenetianschools，seemtohavepaintedwithnootherpurposethantobeadmiredfortheirskillandexpertnessinthemechanismofpainting，andtomakeaparadeofthatartwhich，asIbeforeobserved，thehigherstylerequiresitsfollowerstoconceal。
InaconferenceoftheFrenchAcademy，atwhichwerepresentLeBrun，SebastianBourdon，andalltheeminentartistsofthatage，oneoftheacademiciansdesiredtohavetheiropinionontheconductofPaulVeronese，who，thoughapainterofgreatconsideration，had，contrarytothestrictrulesofart，inhispictureofPerseusandAndromeda，representedtheprincipalfigureinshade。Tothisquestionnosatisfactoryanswerwasthengiven。
ButIwillventuretosay，thatiftheyhadconsideredtheclassoftheartist，andrankedhimasanornamentalpainter，therewouldhavebeennodifficultyinanswering："Itwasunreasonabletoexpectwhatwasneverintended。HisintentionwassolelytoproduceaneffectoflightandShadow;everythingwastobesacrificedtothatintent，andthecapriciouscompositionofthatpicturesuitedverywellwiththestyleheprofessed。"
Youngmindsareindeedtooapttobecaptivatedbythissplendourofstyle，andthatoftheVenetianswillbeparticularlypleasing;
forbythemallthosepartsoftheartthatgivepleasuretotheeyeorsensehavebeencultivatedwithcare，andcarriedtothedegreenearesttoperfection。Thepowersexertedinthemechanicalpartofthearthavebeencalledthelanguageofpainters;butwemustsay，thatitisbutpooreloquencewhichonlyshowsthattheoratorcantalk。Wordsshouldbeemployedasthemeans，notastheend：languageistheinstrument，convictionisthework。
Thelanguageofpaintingmustindeedbeallowedthesemasters;buteveninthattheyhaveshownmorecopiousnessthanchoice，andmoreluxuriancythanjudgment。Ifweconsidertheuninterestingsubjectsoftheirinvention，oratleasttheuninterestingmannerinwhichtheyaretreated;ifweattendtotheircapriciouscomposition，theirviolentandaffectedcontrasts，whetheroffigures，oroflightandshadow，therichnessoftheirdrapery，and，atthesametime，themeaneffectwhichthediscriminationofstuffsgivestotheirpictures;iftotheseweaddtheirtotalinattentiontoexpression，andthenreflectontheconceptionsandthelearningofMichaelAngelo，orthesimplicityofRaffaelle，wecannolongerdwellonthecomparison。Evenincolouring，ifwecomparethequietnessandchastityoftheBolognesepenciltothebustleandtumultthatfillseverypartof，aVenetianpicture，withouttheleastattempttointerestthepassions，theirboastedartwillappearamerestrugglewithouteffect;anemptytaletoldbyanidiot，fullofsoundandfury，signifyingnothing。
Suchassupposethatthegreatstylemighthappilybeblendedwiththeornamental，thatthesimple，grave，andmajesticdignityofRaffaellecouldunitewiththeglowandbustleofaPauloorTintoret，aretotallymistaken。Theprinciplesbywhicheachareattainedaresocontrarytoeachother，thattheyseem，inmyopinion，incompatible，andasimpossibletoexisttogether，astouniteinthemindatthesametimethemostsublimeideasandthelowestsensuality。
ThesubjectsoftheVenetianpaintersaremostlysuchasgivethemanopportunityofintroducingagreatnumberoffigures，suchasfeasts，marriages，andprocessions，publicmartyrdoms，ormiracles。
IcaneasilyconceivethatPaulVeronese，ifhewereasked，wouldsaythatnosubjectwasproperforanhistoricalpicturebutsuchasadmittedatleastfortyfigures;forinalessnumber，hewouldassert，therecouldbenoopportunityofthepainter’sshowinghisartincomposition，hisdexterityofmanaginganddisposingthemassesoflight，andgroupsoffigures，andofintroducingavarietyofEasterndressesandcharactersintheirrichstuffs。
Butthethingisverydifferentwithapupilofthegreaterschools。AnnibaleCaraccithoughttwelvefiguressufficientforanystory：heconceivedthatmorewouldcontributetonoendbuttofillspace;thattheywould，bebutcoldspectatorsofthegeneralaction，or，tousehisownexpression，thattheywouldbefigurestobelet。Besides，itisimpossibleforapicturecomposedofsomanypartstohavethateffect，soindispensablynecessarytograndeur，ofonecompletewhole。Howevercontradictoryitmaybeingeometry，itistrueintaste，thatmanylittlethingswillnotmakeagreatone。Thesublimeimpressesthemindatoncewithonegreatidea;itisasingleblow：theelegantindeedmaybeproducedbyarepetition，byanaccumulationofmanyminutecircumstances。
HowevergreatthedifferenceisbetweenthecompositionoftheVenetianandtherestoftheItalianschools，thereisfullasgreatadisparityintheeffectoftheirpicturesasproducedbycolours。AndthoughinthisrespecttheVenetiansmustbeallowedextraordinaryskill，yeteventhatskill，astheyhaveemployedit，willbutillcorrespondwiththegreatstyle。Theircolouringisnotonlytoobrilliant，but，Iwillventuretosay，tooharmonioustoproducethatsolidity，steadiness，andsimplicityofeffectwhichheroicsubjectsrequire，andwhichsimpleorgravecoloursonlycangivetoawork。Thattheyaretobecautiouslystudiedbythosewhoareambitiousoftreadingthegreatwalkofhistoryisconfirmed，ifitwantsconfirmation，bythegreatestofallauthorities，MichaelAngelo。Thiswonderfulman，afterhavingseenapicturebyTitian，toldVasari，whoaccompaniedhim，"thathelikedmuchhiscolouringandmanner;butthenheadded，thatitwasapitytheVenetianpaintersdidnotlearntodrawcorrectlyintheirearlyyouth，andadoptabettermannerofstudy。"
BythisitappearsthattheprincipalattentionoftheVenetianpainters，intheopinionofMichaelAngelo，seemedtobeengrossedbythestudyofcolours，totheneglectoftheidealbeautyofform，orproprietyofexpression。ButifgeneralcensurewasgiventothatschoolfromthesightofapictureofTitian，howmuchmoreheavily，andmorejustly，wouldthecensurefallonPauloVeronese，ormoreespeciallyonTintoret？AndhereIcannotavoidcitingVasari’sopinionofthestyleandmannerofTintoret。"Ofalltheextraordinarygeniuses，"sayshe，"thathaveeverpractisedtheartofpainting，forwild，capricious，extravagant，andfantasticalinventions，forfuriousimpetuosityandboldnessintheexecutionofhiswork，thereisnonelikeTintoret;hisstrangewhimsareevenbeyondextravagance;andhisworksseemtobeproducedratherbychancethaninconsequenceofanypreviousdesign，asifhewantedtoconvincetheworldthat，theartwasatrifle，andofthemosteasyattainment。"
Formyownpart，whenIspeakoftheVenetianpainters，IwishtobeunderstoodtomeanPauloVeroneseandTintoret，totheexclusionofTitian;forthoughhisstyleisnotsopureasthatofmanyotheroftheItalianschools，yetthereisasortofsenatorialdignityabouthim，which，howeverawkwardinhisimitators，seemstobecomehimexceedingly。Hisportraitsalone，fromthenoblenessandsimplicityofcharacterwhichhealwaysgavethem，willentitlehimtothegreatestrespect，asheundoubtedlystandsinthefirstrankinthisbranchoftheart。
ItisnotwithTitian，butwiththeseducingqualitiesofthetwoformer，thatIcouldwishtocautionyou，againstbeingtoomuchcaptivated。Thesearethepersonswhomaybesaidtohaveexhaustedallthepowersofflorideloquence，todebauchtheyoungandunexperienced，andhave，withoutdoubt，beenthecauseofturningofftheattentionoftheconnoisseurandofthepatronofart，aswellasthatofthepainter，fromthosehigherexcellencesofwhichtheartiscapable，andwhichoughttoberequiredineveryconsiderableproduction。Bythem，andtheirimitators，astylemerelyornamentalhasbeendisseminatedthroughoutallEurope。RubenscarriedittoFlanders，VoettoFrance，andLucaGiordanotoSpainandNaples。
TheVenetianisindeedthemostsplendidoftheschoolsofelegance;anditisnotwithoutreasonthatthebestperformancesinthislowerschoolarevaluedhigherthanthesecond-rateperformancesofthoseabovethem;foreverypicturehasvaluewhenithasadecidedcharacter，andisexcellentinitskind。Butthestudentmusttakecarenottobesomuchdazzledwiththissplendourastobetemptedtoimitatewhatmustultimatelyleadfromperfection。Poussin，whoseeyewasalwayssteadilyfixedonthesublime，hasbeenoftenheardtosay，"Thataparticularattentiontocolouringwasanobstacletothestudentinhisprogresstothegreatendanddesignoftheart;andthathewhoattacheshimselftothisprincipalendwillacquirebypracticeareasonablygoodmethodofcolouring。"
Thoughitbeallowedthatelaborateharmonyofcolouring，abrilliancyoftints，asoftandgradualtransitionfromonetoanother，presenttotheeyewhatanharmoniousconcertofmusicdoestotheear，itmustberememberedthatpaintingisnotmerelyagratificationofthesight。Suchexcellence，thoughproperlycultivatedwherenothinghigherthaneleganceisintended，isweakandunworthyofregard，whentheworkaspirestograndeurandsublimity。
ThesamereasonsthathavebeenurgedwhyamixtureoftheVenetianstylecannotimprovethegreatstylewillholdgoodinregardtotheFlemishandDutchschools。Indeed，theFlemishschool，ofwhichRubensisthehead，wasformeduponthatoftheVenetian;
likethem，hetookhisfigurestoomuchfromthepeoplebeforehim。
ButitmustbeallowedinfavouroftheVenetiansthathewasmoregrossthanthey，andcarriedalltheirmistakenmethodstoafargreaterexcess。IntheVenetianschoolitself，wheretheyallerrfromthesamecause，thereisadifferenceintheeffect。ThedifferencebetweenPauloandBassanoseemstobeonlythatoneintroducedVenetiangentlemenintohispictures，andtheothertheboorsofthedistrictofBassano，andcalledthempatriarchsandprophets。
ThepaintersoftheDutchschoolhavestillmorelocality。Withthem，ahistorypieceisproperlyaportraitofthemselves;whethertheydescribetheinsideoroutsideoftheirhouses，wehavetheirownpeopleengagedintheirownpeculiaroccupations，workingordrinking，playingorfighting。Thecircumstancesthatenterintoapictureofthiskindaresofarfromgivingageneralviewofhumanlifethattheyexhibitalltheminuteparticularitiesofanationdifferinginseveralrespectsfromtherestofmankind。Yet，letthemhavetheirshareofmorehumblepraise。Thepaintersofthisschoolareexcellentintheirownway;theyareonlyridiculouswhentheyattemptgeneralhistoryontheirownnarrowprinciples，anddebasegreateventsbythemeannessoftheircharacters。
Someinferiordexterity，someextraordinarymechanicalpower，isapparentlythatfromwhichtheyseekdistinction。Thus，wesee，thatschoolalonehasthecustomofrepresentingcandle-light，notasitreallyappearstousbynight，butred，asitwouldilluminateobjectstoaspectatorbyday。Suchtricks，howeverpardonableinthelittlestyle，wherepettyeffectsarethesoleend，areinexcusableinthegreater，wheretheattentionshouldneverbedrawnasidebytrifles，butshouldbeentirelyoccupiedbythesubjectitself。
ThesamelocalprincipleswhichcharacterisetheDutchschoolextendeventotheirlandscapepainters;andRubenshimself，whohaspaintedmanylandscapes，hassometimestransgressedinthisparticular。Theirpiecesinthiswayare，Ithink，alwaysarepresentationofanindividualspot，andeachinitskindaveryfaithfulbutveryconfinedportrait。
ClaudeLorraine，onthecontrary，wasconvincedthattakingnatureashefounditseldomproducedbeauty。Hispicturesareacompositionofthevariousdraughtswhichhehaspreviouslymadefromvariousbeautifulscenesandprospects。However，Rubensinsomemeasurehasmadeamendsforthedeficiencywithwhichheischarged;hehascontrivedtoraiseandanimatehisotherwiseuninterestingviews，byintroducingarainbow，storm，orsomeparticularaccidentaleffectoflight。ThatthepracticeofClaudeLorraine，inrespecttohischoice，istobeadoptedbylandscapepainters，inoppositiontothatoftheFlemishandDutchschools，therecanbenodoubt，asitstruthisfoundeduponthesameprincipleasthatbywhichthehistoricalpainteracquiresperfectform。Butwhetherlandscapepaintinghasarighttoaspiresofarastorejectwhatthepainterscallaccidentsofnatureisnoteasytodetermine。ItiscertainClaudeLorraineseldom，ifever，availedhimselfofthoseaccidents;eitherhethoughtthatsuchpeculiaritieswerecontrarytothatstyleofgeneralnaturewhichheprofessed，orthatitwouldcatchtheattentiontoostrongly，anddestroythatquietnessandreposewhichhethoughtnecessarytothatkindofpainting。
Aportraitpainterlikewise，whenheattemptshistory，unlessheisuponhisguard，islikelytoentertoomuchintothedetail。Hetoofrequentlymakeshishistoricalheadslooklikeportraits;andthiswasoncethecustomamongstthoseoldpainterswhorevivedtheartbeforegeneralideaswerepractisedorunderstood。Ahistorypainterpaintsmaningeneral;aportraitpainter，aparticularman，andconsequentlyadefectivemodel。
Thusanhabitualpracticeinthelowerexercisesoftheartwillpreventmanyfromattainingthegreater。Butsuchofuswhomoveinthesehumblerwalksoftheprofessionarenotignorantthat，asthenaturaldignityofthesubjectisless，themoreallthelittleornamentalhelpsarenecessarytoitsembellishment。Itwouldberidiculousforapainterofdomesticscenes，ofportraits，landscapes，animals，orofstilllife，tosaythathedespisedthosequalitieswhichhavemadethesubordinateschoolssofamous。
Theartofcolouring，andtheskilfulmanagementoflightandshadow，areessentialrequisitesinhisconfinedlabours。Ifwedescendstilllower，whatisthepainteroffruitandflowerswithouttheutmostartincolouring，andwhatthepainterscallhandling;thatis，alightnessofpencilthatimpliesgreatpractice，andgivestheappearanceofbeingdonewithease？Somehere，Ibelieve，mustrememberaflower-painterwhoseboastitwasthathescornedtopaintforthemillion;no，heprofessedtopaintinthetrueItaliantaste;anddespisingthecrowd，calledstrenuouslyuponthefewtoadmirehim。HisideaoftheItaliantastewastopaintasblackanddirtyashecould，andtoleaveallclearnessandbrilliancyofcolouringtothosewhowerefonderofmoneythanofimmortality。Theconsequencewassuchasmightbeexpected。Fortheseprettyexcellencesarehereessentialbeauties;andwithoutthismerittheartist’sworkwillbemoreshort-livedthantheobjectsofhisimitation。
Fromwhathasbeenadvanced，wemustnowbeconvincedthattherearetwodistinctstylesinhistorypainting：thegrand，andthesplendidorornamental。
Thegreatstylestandsalone，anddoesnotrequire，perhapsdoesnotsowelladmit，anyadditionfrominferiorbeauties。Theornamentalstylealsopossessesitsownpeculiarmerit。However，thoughtheunionofthetwomaymakeasortofcompositestyle，yetthatstyleislikelytobemoreimperfectthaneitherofthosewhichgotoitscomposition。Bothkindshavemerit，andmaybeexcellentthoughindifferentranks，ifuniformitybepreserved，andthegeneralandparticularideasofnaturebenotmixed。Eventhemeanestofthemisdifficultenoughtoattain;andthefirstplacebeingalreadyoccupiedbythegreatartistsineitherdepartment，someofthosewhofollowedthoughttherewaslessroomforthem，andfeelingtheimpulseofambitionandthedesireofnovelty，andbeingatthesametimeperhapswillingtotaketheshortestway，theyendeavouredtomakeforthemselvesaplacebetweenboth。Thistheyhaveeffectedbyformingaunionofthedifferentorders。Butasthegraveandmajesticstylewouldsufferbyaunionwiththefloridandgay，soalsohastheVenetianornamentinsomerespectbeeninjuredbyattemptinganalliancewithsimplicity。
Itmaybeassertedthatthegreatstyleisalwaysmoreorlesscontaminatedbyanymeanermixture。Butithappensinafewinstancesthatthelowermaybeimprovedbyborrowingfromthegrand。Thus，ifaportraitpainterisdesiroustoraiseandimprovehissubject，hehasnoothermeansthanbyapproachingittoageneralidea。Heleavesoutalltheminutebreaksandpeculiaritiesintheface，andchangesthedressfromatemporaryfashiontoonemorepermanent，whichhasannexedtoitnoideasofmeannessfromitsbeingfamiliartous。Butifanexactresemblanceofanindividualbeconsideredasthesoleobjecttobeaimedat，theportraitpainterwillbeapttolosemorethanhegainsbytheacquireddignitytakenfromgeneralnature。Itisverydifficulttoennoblethecharacterofacountenancebutattheexpenseofthelikeness，whichiswhatismostgenerallyrequiredbysuchassittothepainter。
Ofthosewhohavepractisedthecompositestyle，andhavesucceededinthisperilousattempt，perhapstheforemostisCorreggio。Hisstyleisfoundeduponmoderngraceandelegance，towhichissuper，addedsomethingofthesimplicityofthegrandstyle。Abreadthoflightandcolour，thegeneralideasofthedrapery，anuninterruptedflowofoutline，allconspiretothiseffect。Nexthim（perhapsequaltohim）ParmegianohasdignifiedthegenteelnessofmoderneffeminacybyunitingitwiththesimplicityoftheancientsandthegrandeurandseverityofMichaelAngelo。Itmustbeconfessed，however，thatthesetwoextraordinarymen，byendeavouringtogivetheutmostdegreeofgrace，havesometimes，perhaps，exceededitsboundaries，andhavefallenintothemosthatefulofallhatefulqualities，affectation。Indeed，itisthepeculiarcharacteristicofmenofgeniustobeafraidofcoldnessandinsipidity，fromwhichtheythinktheynevercanbetoofarremoved。Itparticularlyhappenstothesegreatmastersofgraceandelegance。Theyoftenboldlydriveontotheveryvergeofridicule;thespectatorisalarmed，butatthesametimeadmirestheirvigourandintrepidity。
Strangegracesstill，andstrangerflightstheyhad，……
Yetne’ersosureourpassiontocreateAewhentheytouch’dthebrinkofallwehate。
Theerrorsofgenius，however，arepardonable，andnoneevenofthemoreexaltedpaintersarewhollyfreefromthem;buttheyhavetaughtus，bytherectitudeoftheirgeneralpractice，tocorrecttheirownaffectedoraccidentaldeviation。Theveryfirsthavenotbeenalwaysupontheirguard，andperhapsthereisnotafaultbutwhatmaytakeshelterunderthemostvenerableauthorities;yetthatstyleonlyisperfectinwhichthenoblestprinciplesareuniformlypursued;andthosemastersonlyareentitledtothefirstrankin，ourestimationwhohaveenlargedtheboundariesoftheirart，andhaveraisedittoitshighestdignity，byexhibitingthegeneralideasofnature。
Onthewhole，itseemstomethatthereisbutonepresidingprinciplewhichregulatesandgivesstabilitytoeveryart。Theworks，whetherofpoets，painters，moralists，orhistorians，whicharebuiltupongeneralnature，liveforever;whilethosewhichdependfortheirexistenceonparticularcustomsandhabits，apartialviewofnature，orthefluctuationoffashion，canonlybecoevalwiththatwhichfirstraisedthemfromobscurity。Presenttimeandfuturemaybeconsideredasrivals，andhewhosolicitstheonemustexpecttobediscountenancedbytheother。
ADISCOURSE
DeliveredtotheStudentsoftheRoyalAcademyontheDistributionofthePrizes，December10，1772，bythePresident。
Gentlemen，——IpurposetocarryoninthisdiscoursethesubjectwhichIbeganinmylast。Itwasmywishuponthatoccasiontoinciteyoutopursuethehigherexcellencesoftheart。ButIfearthatinthisparticularIhavebeenmisunderstood。Somearereadytoimagine，whenanyoftheirfavouriteacquirementsintheartareproperlyclassed，thattheyareutterlydisgraced。Thisisaverygreatmistake：nothinghasitsproperlustrebutinitsproperplace。Thatwhichismostworthyofesteeminitsallottedspherebecomesanobject，notofrespect，butofderision，whenitisforcedintoahigher，towhichitisnotsuited;andthereitbecomesdoublyasourceofdisorder，byoccupyingasituationwhichisnotnaturaltoit，andbyputtingdownfromthefirstplacewhatisinrealityoftoomuchmagnitudetobecomewithgraceandproportionthatsubordinatestation，towhichsomethingoflessvaluewouldbemuchbettersuited。
Myadviceinawordisthis：keepyourprincipalattentionfixeduponthehigherexcellences。Ifyoucompassthemandcompassnothingmore，youarestillinthefirstclass。Wemayregrettheinnumerablebeautieswhichyoumaywant：youmaybeveryimperfect：butstill，youareanimperfectpersonofthehighestorder。
If，whenyouhavegotthusfar，youcanaddany，orall，ofthesubordinatequalifications，itismywishandadvicethatyoushouldnotneglectthem。
Butthisisasmuchamatterofcircumspectionandcautionatleastasofeagernessandpursuit。
Themindisapttobedistractedbyamultiplicityofpursuits;andthatscaleofperfection，whichIwishalwaystobepreserved，isinthegreatestdangerofbeingtotallydisordered，andeveninverted。
Someexcellencesbeartobeunited，andareimprovedbyunion，othersareofadiscordantnature;andtheattempttojointhemonlyproducesaharsherjarringofincongruentprinciples。
Theattempttounitecontraryexcellences（ofform，forinstance）
inasinglefigure，canneverescapedegeneratingintothemonstrous，butbysinkingintotheinsipid，takingawayitsmarkedcharacter，andweakeningitsexpression。
Thisremarkistruetoacertaindegreewithregardtothepassions。Ifyoumeantopreservethemostperfectbeautyinitsmostperfectstate，youcannotexpressthepassions，whichproduce（allofthem）distortionanddeformity，moreorless，inthemostbeautifulfaces。
Guido，fromwantofchoiceinadaptinghissubjecttohisideasandhispowers，orinattemptingtopreservebeautywhereitcouldnotbepreservedhasinthisrespectsucceededveryill。Hisfiguresareoftenengagedinsubjectsthatrequiredgreatexpression：yethis"JudithandHolofernes，"the"DaughterofHerodiaswiththeBaptist’sHead，"the"Andromeda，"andeventhe"MothersoftheInnocents，"havelittlemoreexpressionthanhis"VenusattiredbytheGraces。"
Obviousastheseremarksappear，therearemanywritersonourart，who，notbeingoftheprofession，andconsequentlynotknowingwhatcanorwhatcannotbedone，havebeenveryliberalofabsurdpraisesintheirdescriptionsoffavouriteworks。Theyalwaysfindinthemwhattheyareresolvedtofind。Theypraiseexcellencesthatcanhardlyexisttogether，andaboveallthingsarefondofdescribingwithgreatexactnesstheexpressionofamixedpassion，whichmoreparticularlyappearstomeoutofthereachofourart。
SucharemanydisquisitionswhichIhavereadonsomeofthecartoonsandotherpicturesofRaffaelle，wherethecriticshavedescribedtheirownimagination;orindeedwheretheexcellentmasterhimselfmayhaveattemptedthisexpressionofpassionsabovethepowersoftheart;andhas，therefore，byanindistinctandimperfectmarking，leftroomforeveryimagination，withequalprobabilitytofindapassionofhisown。Whathasbeen，andwhatcanbedoneintheart，issufficientlydifficult;weneednotbemortifiedordiscouragedfornotbeingabletoexecutetheconceptionsofaromanticimagination。Arthasitsboundaries，thoughimaginationhasnone。Wecaneasily，liketheancients，supposeaJupitertobepossessedofallthosepowersandperfectionswhichthesubordinateDeitieswereendowedwithseparately。Yet，whentheyemployedtheirarttorepresenthim，theyconfinedhischaractertomajestyalone。Pliny，therefore，thoughweareundergreatobligationstohimfortheinformationhehasgivenusinrelationtotheworksoftheancientartists，isveryfrequentlywrongwhenhespeaksofthem，whichhedoesveryofteninthestyleofmanyofourmodernconnoisseurs。HeobservesthatinastatueofParis，byFuphranor，youmightdiscoveratthesametimethreedifferentcharacters;thedignityofajudgeofthegoddesses，theloverofHelen，andtheconquerorofAchilles。A
statueinwhichyouendeavourtounitestatelydignity，youthfulelegance，andsternvalour，mustsurelypossessnoneofthesetoanyeminentdegree。
Fromhenceitappearsthatthereismuchdifficultyaswellasdangerinanendeavourtoconcentrateuponasinglesubjectthosevariouspowerswhich，risingfromdifferentpoints，naturallymoveindifferentdirections。
Thesummitofexcellenceseemstobeanassemblageofcontraryqualities，butmixed，insuchproportions，thatnoonepartisfoundtocounteracttheother。Howhardthisistobeattainedineveryart，thoseonlyknowwhohavemadethegreatestprogressintheirrespectiveprofessions。
ToconcludewhatIhavetosayonthispartofthesubject，whichI
thinkofgreatimportance，IwishyoutounderstandthatIdonotdiscouragetheyoungerstudentsfromthenobleattemptofunitingalltheexcellencesofart，buttomakethemawarethat，besidesthedifficultieswhichattendeveryarduousattempt，thereisapeculiardifficultyinthechoiceoftheexcellenceswhichoughttobeunited;Iwishyoutoattendtothis，thatyoumaytryyourselves，wheneveryouarecapableofthattrial，whatyoucan，andwhatyoucannotdo：andthat，insteadofdissipatingyournaturalfacultiesovertheimmensefieldofpossibleexcellence，youmaychoosesomeparticularwalkinwhichyoumayexerciseallyourpowers，inordereachofyoutobethefirstinhisway。Ifanymanshallbemasterofsuchatranscendant，commanding，andductilegenius，astoenablehimtorisetothehighest，andtostooptothelowestflightsofart，andtosweepoverallofthemunobstructedandsecure，heisfittertogiveexamplethantoreceiveinstruction。
Havingsaidthusmuchontheunionofexcellences，Iwillnextsaysomethingofthesubordinationinwhichvariousexcellencesoughttobekept。
Iamofopinionthattheornamentalstyle，whichinmydiscourseoflastyearIcautionedyouagainstconsideringasprincipal，maynotbewhollyunworthytheattentionofthosewhoaimevenatthegrandstyle;whenitisproperlyplacedandproperlyreduced。
Butthisstudywillbeusedwithfarbettereffect，ifitsprinciplesareemployedinsofteningtheharshnessandmitigatingtherigourofthegreatstyle，thanifinattempttostandforwardwithanypretensionsofitsowntopositiveandoriginalexcellence。
ItwasthusLodovicoCaracci，whoseexampleIformerlyrecommendedtoyou，employedit。HewasacquaintedwiththeworksbothofCorreggioandtheVenetianpainters，andknewtheprinciplesbywhichtheyproducedthosepleasingeffectswhichatthefirstglanceprepossessussomuchintheirfavour;buthetookonlyasmuchfromeachaswouldembellish，butnotoverpower，thatmanlystrengthandenergyofstyle，whichishispeculiarcharacter。
SinceIhavealreadyexpatiatedsolargelyinmyformerdiscourse，andinmypresent，uponthestylesandcharactersofpainting，itwillnotbeatallunsuitabletomysubjectifImentiontoyousomeparticularsrelativetotheleadingprinciples，andcapitalworksofthosewhoexcelledinthegreatstyle，thatImaybringyoufromabstractionnearertopractice，andbyexemplifyingthepropositionswhichIhavelaiddown，enableyoutounderstandmoreclearlywhatIwouldenforce。
Theprincipalworksofmodernartareinfresco，amodeofpaintingwhichexcludesattentiontominuteelegancies：yettheseworksinfrescoaretheproductionsonwhichthefameofthegreatestmastersdepend：sucharethepicturesofMichaelAngeloandRaffaelleintheVatican，towhichwemayaddthecartoons，which，thoughnotstrictlytobecalledfresco，yetmaybeputunderthatdenomination;andsucharetheworksofGiulioRomanoatMantua。
Iftheseperformancesweredestroyed，withthemwouldbelostthebestpartofthereputationofthoseillustriouspainters，forthesearejustlyconsideredasthegreatesteffortsofourartwhichtheworldcanboast。Tothese，therefore，weshouldprincipallydirectourattentionforhigherexcellences。Asforthelowerarts，astheyhavebeenoncediscovered，theymaybeeasilyattainedbythosepossessedoftheformer。
Raffaelle，whostandsingeneralforemostofthefirstpainters，oweshisreputation，asIhaveobserved，tohisexcellenceinthehigherpartsoftheart。Therefore，hisworksinfrescooughttobethefirstobjectofourstudyandattention。Hiseasel-worksstandinalowerdegreeofestimation;forthoughhecontinually，tothedayofhisdeath，embellishedhisworksmoreandmorewiththeadditionoftheselowerornaments，whichentirelymakethemeritofsome，yetheneverarrivedatsuchperfectionastomakehimanobjectofimitation。Heneverwasabletoconquerperfectlythatdryness，orevenlittlenessofmanner，whichheinheritedfromhismaster。Heneveracquiredthatnicetyoftasteincolours，thatbreadthoflightandshadow，thatartandmanagementofunitinglight，tolight，andshadowtoshadow，soastomaketheobjectriseoutofthegroundwiththatplenitudeofeffectsomuchadmiredintheworksofCorreggio。Whenhepaintedinoil，hishandseemedtobesocrampedandconfinedthathenotonlylostthatfacilityandspirit，butIthinkeventhatcorrectnessofform，whichissoperfectandadmirableinhisfrescoworks。Idonotrecollectanypicturesofhisofthiskind，exceptperhapsthe"Transfiguration，"inwhichtherearenotsomepartsthatappeartobeevenfeeblydrawn。Thatthisisnotanecessaryattendantonoil-painting，wehaveabundantinstancesinmoremodernpainters。
LodovicoCaracci，forinstance，preservedinhisworksinoilthesamespirit，vigour，andcorrectness，whichhehadinfresco。I
havenodesiretodegradeRaffaellefromthehighrankwhichhedeservedlyholds：butbycomparinghimwithhimself，hedoesnotappeartometobethesamemaninoilasinfresco。
Fromthosewhohaveambitiontotreadinthisgreatwalkoftheart，MichaelAngeloclaimsthenextattention。HedidnotpossesssomanyexcellencesasRaffaelle，butthosehehadwereofthehighestkind。Heconsideredtheartasconsistingoflittlemorethanwhatmaybeattainedbysculpture，correctnessofform，andenergyofcharacter。Weoughtnottoexpectmorethananartistintendsinhiswork。Heneverattemptedthoselessereleganciesandgracesintheart。Vasarisays，heneverpaintedbutonepictureinoil，andresolvednevertopaintanother，sayingitwasanemploymentonlyfitforwomenandchildren。
Ifanymanhadarighttolookdownupontheloweraccomplishmentsasbeneathhisattention，itwascertainlyMichaelAngelo：norcanitbethoughtstrangethatsuchamindshouldhaveslightedorhavebeenwithheldfrompayingdueattentiontoallthosegracesandembellishmentsofartwhichhavediffusedsuchlustreovertheworksofotherpainters。