ridiculous as a poet would be, who, in a pathetic situation, in order to satisfy my expectations and rid himself of the business, should say, that the sentiments of his hero are so far above whatever can be said on the occasion, that he shall say nothing."

To what Falconet has said, we may add, that, supposing this method of leaving the expression of grief to the imagination to be, as it was thought to be, the invention of the painter, and that it deserves all the praise that has been given it, still it is a trick that will serve but once; whoever does it a second time will not only want novelty, but be justly suspected of using artifice to evade difficulties. If difficulties overcome make a great part of the merit of Art, difficulties evaded can deserve but little commendation.

DISCOURSE IX.

[DELIVERED AT THE OPENING OF THE ROYAL ACADEMY IN SOMERSET-PLACE, OCTOBER 16TH, 1780.]

ON THE REMOVAL OF THE ROYAL ACADEMY TO SOMERSET-PLACE.-THE ADVANTAGES TO SOCIETY FROM CULTIVATING INTELLECTUAL PLEASUre.

GENTLEMEN,

THE honour which the Arts acquire by being permitted to take possession of this noble habitation, is one of the most considerable of the many instances we have received of His Majesty's protection; and the strongest proof of his desire to make the Academy respectable.

Nothing has been left undone that might contribute to excite our pursuit, or to reward our attainments. We have already the happiness of seeing the Arts in a state to which they never before arrived in this nation. This building, in which we are now assembled, will remain to many future ages an illustrious specimen of the Architect's' abilities. It is our duty to endeavour that those who gaze with wonder at the structure may not be disappointed when they visit the apartments. It will be no small addition to the glory which this nation has already acquired from having given birth to eminent men in every part of science, if it should be enabled to produce, in consequence of this institution, a School of English Artists. The estimation in which we stand in respect to our neighbours, will be in proportion to the degree in which we excel or are inferior to them in the acquisition of intellectual excellence, of which trade and its consequential riches must be acknowledged to give the means; but a people whose whole attention is absorbed in those means, and who forget

1 Sir William Chambers.

the end, can aspire but little above the rank of a barbarous nation. Every establishment that tends to the cultivation of the pleasures of the mind, as distinct from those of sense, may be considered as an inferior school of morality, where the mind is polished and prepared for higher attainments.

Let us for a moment take a short survey of the progress of the mind towards what is, or ought to be, its true object of attention. Man, in his lowest state, has no pleasures but those of sense, and no wants but those of appetite; afterwards, when society is divided into different ranks, and some are appointed to labour for the support of others, those whom their superiority sets free from labour, begin to look for intellectual entertainments. Thus, whilst the shepherds were attending their flocks, their masters made the first astronomical observations; so music is said to have had its origin from a man at leisure listening to the strokes of a hammer.

As the senses, in the lowest state of nature, are necessary to direct us to our support, when that support is once secure there is danger in following them further; to him who has no rule of action but the gratification of the senses, plenty is always dangerous: it is, therefore, necessary to the happiness of individuals, and still more necessary to the security of society, that the mind should be elevated to the idea of general beauty, and the contemplation of general truth; by this pursuit the mind is always carried forward in search of something more excellent than it finds, and obtains its proper superiority over the common senses of life, by learning to feel itself capable of higher aims and nobler enjoyments. In this gradual exaltation of human nature, every art contributes its contingent towards the general supply of mental pleasure. Whatever abstracts the thoughts from sensual gratifications, whatever teaches us to look for happiness within ourselves, must advance in some measure the dignity of our nature.

Perhaps there is no higher proof of the excellency of man than this,— that to a mind properly cultivated whatever is bounded is little. The mind is continually labouring to advance, step by step, through successive

gradations of excellence, towards perfection, which is dimly seen, at a great though not hopeless distance, and which we must always follow because we never can attain; but the pursuit rewards itself; one truth teaches another, and our store is always increasing, though nature can never be exhausted. Our art, like all arts which address the imagination, is applied to somewhat a lower faculty of the mind, which approaches nearer to sensuality; but through sense and fancy it must make its way to reason; for such is the progress of thought, that we perceive by sense, we combine by fancy, and distinguish by reason: and without carrying our art out of its natural and true character, the more we purify it from every thing that is gross in sense, in that proportion we advance its use and dignity; and in proportion as we lower it to mere sensuality, we pervert its nature, and degrade it from the rank of a liberal art; and this is what every artist ought well to remember. Let him remember also, that he deserves just so much encouragement in the state as he makes himself a member of it virtuously useful, and contributes in his sphere to the general purpose and perfection of society.

The Art which we profess has beauty for its object; this it is our business to discover and to express; the beauty of which we are in quest is general and intellectual; it is an idea that subsists only in the mind; the sight never beheld it, nor has the hand expressed it: it is an idea residing in the breast of the artist, which he is always labouring to impart, and which he dies at last without imparting; but which he is yet so far able to communicate, as to raise the thoughts and extend the views of the spectator; and which, by a succession of art, may be so far diffused, that its effects may extend themselves imperceptibly into public benefits, and be among the means of bestowing on whole nations refinement of taste; which, if it does not lead directly to purity of manners, obviates at least their greatest depravation, by disentangling the mind from appetite, and conducting the thoughts through successive stages of excellence, till that contemplation of universal rectitude and harmony which began by Taste, may, as it is exalted and refined, conclude in Virtue.

DISCOURSE X.

[DELIVERED TO THE STUDENTS ON THE DISTRIBUTION OF THE PRIZES, DECEMBER 11TH, 1780.]

SCULPTURE:-HAS BUT ONE STYLE.-ITS OBJECTS, FORM, AND CHARACTER.-INEFFECTUAL ATTEMPTS OF THE MODERN SCULPTORS TO IMPROVE THE ART.-ILL EFFECTS OF MODERN DRESS IN SCULPTURE.

GENTLEMEN,

I SHALL now, as it has been customary on this day, and on this occasion, communicate to you such observations as have occurred to me on the Theory of Art.

If these observations have hitherto referred principally to Painting, let it be remembered that this Art is much more extensive and complicated than Sculpture, and affords, therefore, a more ample field for criticism; and as the greater includes the less, the leading principles of Sculpture are comprised in those of Painting.1

However, I wish now to make some remarks with particular relation to Sculpture; to consider wherein, or in what manner, its principles and those of Painting agree or differ; what is within its power of performing,

1 Before attempting to write anything explanatory on this Discourse, I felt that diffidence which every one ought to feel who is called upon to explain a subject he is not practically conversant in; for, though regularly educated in an academical study of the antique, the living model, and a course of anatomy; and though the leading principles of Sculpture may be comprised in those of Painting, yet to mark the limits of each, and define more minutely their peculiar provinces, required closer examination. I have, therefore, gone over the ground with this object in view, and now give the result to the student and general reader, as hints for speculation, or the notes of one returned from a tour, describing what he has seen. Sculpture, though undoubtedly an earlier art than Painting, (for we find few savage nations without their Penates of wood or stone,) owes its perfection to the education of its younger sister, which, being more difficult and comprehensive, is better calculated to develope the greater powers of