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master； is indeed a severe and mortifying task； to which none will submit；
but such as have great views； with fortitude sufficient to forego the
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gratifications of present vanity for future honour。 When the student has
succeeded in some measure to his own satisfaction； and has felicitated
himself on his success； to go voluntarily to a tribunal where he knows his
vanity must be humbled； and all self…approbation must vanish； requires not
only great resolution； but great humility。 To him； however； who has the
Ambition to be a real master； the solid satisfaction which proceeds from a
consciousness of his advancement （of which seeing his own faults is the
first step） will very abundantly compensate for the mortification of present
disappointment。 There is； besides； this alleviating circumstance。 Every
discovery he makes； every acquisition of knowledge he attains； seems to
proceed from his own sagacity； and thus he acquires a confidence in
himself sufficient to keep up the resolution of perseverance。
We all must have experienced how lazily； and consequently how
ineffectually； instruction is received when forced upon the mind by others。
Few have been taught to any purpose who have not been their own
teachers。 We prefer those instructions which we have given ourselves；
from our affection to the instructor； and they are more effectual； from
being received into the mind at the very time when it is most open and
eager to receive them。
With respect to the pictures that you are to choose for your models； I
could wish that you would take the world's opinion rather than your own。
In other words； I would have you choose those of established reputation
rather than follow your own fancy。 If you should not admire them at first；
you will； by endeavouring to imitate them； find that the world has not been
mistaken。
It is not an easy task to point out those various excellences for your
imitation which he distributed amongst the various schools。 An endeavour
to do this may perhaps be the subject of some future discourse。 I will；
therefore； at present only recommend a model for style in painting； which
is a branch of the art more immediately necessary to the young student。
Style in painting is the same as in writing； a power over materials； whether
words or colours； by which conceptions or sentiments are conveyed。
And in this Lodovico Carrache （I mean in his best works） appears to me to
approach the nearest to perfection。 His unaffected breadth of light and
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shadow； the simplicity of colouring； which holding its proper rank； does
not draw aside the least part of the attention from the subject； and the
solemn effect of that twilight which seems diffused over his pictures；
appear to me to correspond with grave and dignified subjects； better than
the more artificial brilliancy of sunshine which enlightens the pictures of
Titian。 Though Tintoret thought that Titian's colouring was the model of
perfection； and would correspond even with the sublime of Michael
Angelo； and that if Angelo had coloured like Titian； or Titian designed like
Angelo； the world would once have had a perfect painter。
It is our misfortune； however； that those works of Carrache which I
would recommend to the student are not often found out of Bologna。 The
〃St。 Francis in the midst of his Friars；〃 〃The Transfiguration；〃 〃The Birth
of St。 John the Baptist；〃 〃The Calling of St。 Matthew；〃 the 〃St。 Jerome；〃
the fresco paintings in the Zampieri Palace； are all worthy the attention of
the student。 And I think those who travel would do well to allot a much
greater portion of their time to that city than it has been hitherto the
custom to bestow。
In this art； as in others； there are many teachers who profess to show
the nearest way to excellence； and many expedients have been invented by
which the toil of study might be saved。 But let no man be seduced to
idleness by specious promises。 Excellence is never granted to man but as
the reward of labour。 It argues； indeed； no small strength of mind to
persevere in habits of industry； without the pleasure of perceiving those
advances； which； like the hand of a clock； whilst they make hourly
approaches to their point； yet proceed so slowly as to escape observation。
A facility of drawing； like that of playing upon a musical instrument；
cannot be acquired but by an infinite number of acts。 I need not；
therefore； enforce by many words the necessity of continual application；
nor tell you that the port…crayon ought to be for ever in your hands。
Various methods will occur to you by which this power may be acquired。
I would particularly recommend that after your return from the academy
（where I suppose your attendance to be constant） you would endeavour to
draw the figure by memory。 I will even venture to add； that by
perseverance in this custom； you will become able to draw the human
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figure tolerably correct； with as little effort of the mind as to trace with a
pen the letters of the alphabet。
That this facility is not unattainable； some members in this academy
give a sufficient proof。 And； be assured； that if this power is not acquired
whilst you are young； there will be no time for it afterwards： at least； the
attempt will be attended with as much difficulty as those experience who
learn to read or write after they have arrived to the age of maturity。
But while I mention the port…crayon as the student's constant
companion； he must still remember that the pencil is the instrument by
which he must hope to obtain eminence。 What； therefore； I wish to
impress upon you is； that whenever an opportunity offers； you paint your
studies instead of drawing them。 This will give you such a facility in
using colours； that in time they will arrange themselves under the pencil；
even without the attention of the hand that conducts it。 If one act
excluded the other； this advice could not with any propriety be given。
But if painting comprises both drawing and colouring and if by a short
struggle of resolute industry the same expedition is attainable in painting
as in drawing on paper； I cannot see what objection can justly be made to
the practice； or why that should be done by parts； which may be done
altogether。
If we turn our eyes to the several schools of painting； and consider
their respective excellences； we shall find that those who excel most in
colouring pursued this method。 The Venetian and Flemish schools；
which owe much of their fame to colouring； have enriched the cabinets of
the collectors of drawings with very few examples。 Those of Titian； Paul
Veronese； Tintoret； and the Bassans； are in general slight and
undetermined。 Their sketches on paper are as rude as their pictures are
excellent in regard to harmony of colouring。 Correggio and Barocci have
left few； if any； finished drawings behind them。 And in the Flemish
school； Rubens and Vandyke made their designs for the most part either in
colours or in chiaroscuro。 It is as common to find studies of the Venetian
and Flemish painters on canvas； as of the schools of Rome and Florence
on paper。 Not but that many finished drawings are sold under the names
of those masters。 Those； however； are undoubtedly the productions
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