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SEVEN DISCOURSES ON ART
A DISCOURSE I
Delivered at the Opening of the Royal Academy； January 2nd；
1769； by the President
Gentlemen；An academy in which the polite arts may be regularly
cultivated is at last opened among us by royal munificence。 This must
appear an event in the highest degree interesting； not only to the artists；
but to the whole nation。
It is indeed difficult to give any other reason why an Empire like that
of Britain should so long have wanted an ornament so suitable to its
greatness than that slow progression of things which naturally makes
elegance and refinement the last effect of opulence and power。
An institution like this has often been recommended upon
considerations merely mercantile。 But an academy founded upon such
principles can never effect even its own narrow purposes。 If it has an
origin no higher； no taste can ever be formed in it which can be useful
even in manufactures； but if the higher arts of design flourish； these
inferior ends will be answered of course。
We are happy in having a prince who has conceived the design of such
an institution； according to its true dignity； and promotes the arts； as the
head of a great； a learned； a polite； and a commercial nation； and I can
now congratulate you； gentlemen； on the accomplishment of your long and
ardent wishes。
The numberless and ineffectual consultations that I have had with
many in this assembly； to form plans and concert schemes for an academy；
afford a sufficient proof of the impossibility of succeeding but by the
influence of Majesty。 But there have； perhaps； been times when even the
influence of Majesty would have been ineffectual； and it is pleasing to
reflect that we are thus embodied； when every circumstance seems to
concur from which honour and prosperity can probably arise。
There are at this time a greater number of excellent artists than were
ever known before at one period in this nation； there is a general desire
among our nobility to be distinguished as lovers and judges of the arts；
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SEVEN DISCOURSES ON ART
there is a greater superfluity of wealth among the people to reward the
professors； and； above all； we are patronised by a monarch； who； knowing
the value of science and of elegance； thinks every art worthy of his notice
that tends to soften and humanise the mind。
After so much has been done by his Majesty； it will be wholly our fault
if our progress is not in some degree correspondent to the wisdom and；
generosity of the institution； let us show our gratitude in our diligence； that；
though our merit may not answer his expectations； yet； at least； our
industry may deserve his protection。
But whatever may be our proportion of success； of this we may be sure；
that the present institution will at least contribute to advance our
knowledge of the arts； and bring us nearer to that ideal excellence which it
is the lot of genius always to contemplate and never to attain。
The principal advantage of an academy is； that； besides furnishing able
men to direct the student； it will be a repository for the great examples of
the art。 These are the materials on which genius is to work； and without
which the strongest intellect may be fruitlessly or deviously employed。
By studying these authentic models； that idea of excellence which is the
result of the accumulated experience of past ages may be at once acquired；
and the tardy and obstructed progress of our predecessors may teach us a
shorter and easier way。 The student receives at one glance the principles
which many artists have spent their whole lives in ascertaining； and；
satisfied with their effect； is spared the painful investigation by which they
come to be known and fixed。 How many men of great natural abilities
have been lost to this nation for want of these advantages？ They never
had an opportunity of seeing those masterly efforts of genius which at
once kindle the whole soul； and force it into sudden and irresistible
approbation。
Raffaelle； it is true； had not the advantage of studying in an academy；
but all Rome； and the works of Michael Angelo in particular； were to him
an academy。 On the site of the Capel la Sistina he immediately from a
dry； Gothic； and even insipid manner； which attends to the minute
accidental discriminations of particular and individual objects； assumed
that grand style of painting； which improves partial representation by the
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SEVEN DISCOURSES ON ART
general and invariable ideas of nature。
Every seminary of learning may be said to be surrounded with an
atmosphere of floating knowledge； where every mind may imbibe
somewhat congenial to its own original conceptions。 Knowledge； thus
obtained； has always something more popular and useful than that which
is forced upon the mind by private precepts or solitary meditation。
Besides； it is generally found that a youth more easily receives instruction
from the companions of his studies； whose minds are nearly on a level
with his own； than from those who are much his superiors； and it is from
his equals only that he catches the fire of emulation。
One advantage； I will venture to affirm； we shall have in our academy；
which no other nation can boast。 We shall have nothing to unlearn。 To
this praise the present race of artists have a just claim。 As far as they
have yet proceeded they are right。 With us the exertions of genius will
henceforward be directed to their proper objects。 It will not be as it has
been in other schools； where he that travelled fastest only wandered
farthest from the right way。
Impressed as I am； therefore； with such a favourable opinion of my
associates in this undertaking； it would ill become me to dictate to any of
them。 But as these institutions have so often failed in other nations； and
as it is natural to think with regret how much might have been done； and
how little has been done； I must take leave to offer a few hints； by which
those errors may be rectified； and those defects supplied。 These the
professors and visitors may reject or adopt as they shall think proper。
I would chiefly recommend that an implicit obedience to the rules of
art； as established by the great masters； should be exacted from the
YOUNG students。 That those models； which have passed through the
approbation of ages； should be considered by them as perfect and infallible
guides as subjects for their imitation； not their criticism。
I am confident that this is the only efficacious method of making a
progress in the arts； and that he who sets out with doubting will find life
finished before he becomes master of the rudiments。 For it may be laid
down as a maxim； that he who begins by presuming on his own sense has
ended his studies as soon as he has commenced them。 Every opportunity；
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SEVEN DISCOURSES ON ART
therefore； should be taken to discountenance that false and vulgar opinion
that rules are the fetters of genius。 They are fetters only to men of no
genius； as that armour； which upon the strong becomes an ornament and a
defence； upon the weak and misshapen turns into a load； and cripples the
body which it was made to protect。
How much liberty may be taken to break through those rules； and； as
the poet expresses it；
〃To snatch a grace beyond the reach of art；〃
may be an