seven discourses on art(艺术七讲座)-第3节
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the poet expresses it；
〃To snatch a grace beyond the reach of art；〃
may be an after consideration； when the pupils become masters
themselves。 It is then； when their genius has received its utmost
improvement； that rules may possibly be dispensed with。 But let us not
destroy the scaffold until we have raised the building。
The directors ought more particularly to watch over the genius of those
students who； being more advanced； are arrived at that critical period of
study； on the nice management of which their future turn of taste depends。
At that age it is natural for them to be more captivated with what is
brilliant than with what is solid； and to prefer splendid negligence to
painful and humiliating exactness。
A facility in composing； a lively； and what is called a masterly
handling the chalk or pencil； are； it must be confessed； captivating
qualities to young minds； and become of course the objects of their
ambition。 They endeavour to imitate those dazzling excellences； which
they will find no great labour in attaining。 After much time spent in these
frivolous pursuits； the difficulty will be to retreat； but it will be then too
late； and there is scarce an instance of return to scrupulous labour after the
mind has been debauched and deceived by this fallacious mastery。
By this useless industry they are excluded from all power of advancing
in real excellence。 Whilst boys； they are arrived at their utmost
perfection； they have taken the shadow for the substance； and make that
mechanical facility the chief excellence of the art； which is only an
ornament； and of the merit of which few but painters themselves are
judges。
This seems to me to be one of the most dangerous sources of
corruption； and I speak of it from experience； not as an error which may
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possibly happen； but which has actually infected all foreign academies。
The directors were probably pleased with this premature dexterity in their
pupils； and praised their despatch at the expense of their correctness。
But young men have not only this frivolous ambition of being thought
masterly inciting them on one hand； but also their natural sloth tempting
them on the other。 They are terrified at the prospect before them； of the
toil required to attain exactness。 The impetuosity of youth is distrusted at
the slow approaches of a regular siege； and desires； from mere impatience
of labour； to take the citadel by storm。 They wish to find some shorter
path to excellence； and hope to obtain the reward of eminence by other
means than those which the indispensable rules of art have prescribed。
They must； therefore； be told again and again that labour is the only price
of solid fame； and that whatever their force of genius may be； there is no
easy method of becoming a good painter。
When we read the lives of the most eminent painters； every page
informs us that no part of their time was spent in dissipation。 Even an
increase of fame served only to augment their industry。 To be convinced
with what persevering assiduity they pursued their studies； we need only
reflect on their method of proceeding in their most celebrated works。
When they conceived a subject； they first made a variety of sketches； then
a finished drawing of the whole； after that a more correct drawing of every
separate part； heads； hands； feet； and pieces of drapery； they then painted
the picture； and after all re…touched it from the life。 The pictures； thus
wrought with such pain； now appear like the effect of enchantment； and as
if some mighty genius had struck them off at a blow。
But； whilst diligence is thus recommended to the students； the visitors
will take care that their diligence be effectual； that it be well directed and
employed on the proper object。 A student is not always advancing
because he is employed； he must apply his strength to that part of the art
where the real difficulties lie； to that part which distinguishes it as a liberal
art； and not by mistaken industry lose his time in that which is merely
ornamental。 The students； instead of vying with each other which shall
have the readiest band； should be taught to contend who shall have the
purest and most correct outline； instead of striving which shall produce the
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brightest tint； or； curiously trifling endeavour to give the gloss of stuffs so
as to appear real； let their ambition be directed to contend which shall
dispose his drapery in the most graceful folds； which shall give the most
grace and dignity to the human figure。
I must beg leave to submit one thing more to the consideration of the
visitors； which appears to me a matter of very great consequence； and the
omission of which I think a principal defect in the method of education
pursued in all the academies I have ever visited。 The error I mean is； that
the students never draw exactly from the living models which they have
before them。 It is not indeed their intention； nor are they directed to do it。
Their drawings resemble the model only in the attitude。 They change the
form according to their vague and uncertain ideas of beauty； and make a
drawing rather of what they think the figure ought to be than of what it
appears。 I have thought this the obstacle that has stopped the progress of
many young men of real genius； and I very much doubt whether a habit of
drawing correctly what we see will not give a proportionable power of
drawing correctly what we imagine。 He who endeavours to copy nicely
the figure before him not only acquires a habit of exactness and precision；
but is continually advancing in his knowledge of the human figure； and
though he seems to superficial observers to make a slower progress； he
will be found at last capable of adding （without running into capricious
wildness） that grace and beauty which is necessary to be given to his more
finished works； and which cannot be got by the moderns； as it was not
acquired by the ancients； but by an attentive and well…compared study of
the human form。
What I think ought to enforce this method is； that it has been the
practice （as may be seen by their drawings） of the great masters in the art。
I will mention a drawing of Raffaelle； 〃The Dispute of the Sacrament；〃 the
print of which； by Count Cailus； is in every hand。 It appears that he
made his sketch from one model； and the habit he had of drawing exactly
from the form before him appears by his making all the figures with the
same cap； such as his model then happened to wear； so servile a copyist
was this great man； even at a time when he was allowed to be at his
highest pitch of excellence。
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I have seen also academy figures by Annibale Caracci； though he was
often sufficiently licentious in his finished works； drawn with all the
peculiarities of an individual model。
This scrupulous exactness is so contrary to the practice of the
academies； that it is not without great deference that I beg leave to
recommend it to the consideration of the visitors； and submit it to them；
whether the neglect of this method is not one of the reasons why students
so often disappoint expectation； and being more than boys at sixteen；
become less than men at thirty。
In short； the method I recommend can only be detrimental when there
are but few living forms to copy； for then students； by always drawing
from one alone； will by habit be taught to overlook defects； and mistake
deformity for beauty。 But of this there is no danger； sinc
