pose myself now speaking, men whom I consider as competently provided with all the necessaries and conveniences of art, and who do not desire to steal baubles and common trash, but wish only to possess peculiar rarities which they select to ornament their cabinets, and take care to enrich the general store with materials of equal or of greater value than what they have taken; such men surely need not be ashamed of that friendly intercourse which ought to exist among artists, of receiving from the dead and giving to the living, and perhaps to those who are yet unborn.

The daily food and nourishment of the mind of an artist is found in the great works of his predecessors. There is no other way for him to become great himself. Serpens, nisi serpentem comederit, non fit draco*, is a remark of a whimsical natural history, which I have read, though I do not recollect its title; however false as to dragons, it is applicable enough to artists.

Raffaelle, as appears from what has been said, had carefully studied the works of Masaccio; and, indeed, there was no other, if we except Michael Angelo, (whom he likewise imitated,) so worthy of his attention; and though his manner was dry and hard, his compositions formal, and not enough diversified according to the custom of Painters in that early period, yet his works possess that grandeur and simplicity which accompany, and even sometimes proceed from, regularity and hardness of manner. We must consider, the barbarous state of the Arts before his time, when skill in drawing was so little understood that the best of the painters

* In Ben Jonson's Catiline we find this aphorism, with a slight variation:

"A serpent, ere he comes to be a dragon,

Must eat a bat.”—M.

could not even foreshorten the foot, but every figure appeared to stand upon his toes; and what served for drapery, had, from the hardness and smallness of the folds, too much the appearance of cords clinging round the body. He first introduced large drapery, flowing in an easy and natural manner: indeed he appears to be the first who discovered the path that leads to every excellence to which the Art afterwards arrived, and may, therefore, be justly considered as one of the great Fathers of modern Art.

Though I have been led on to a longer digression respecting this great Painter than I intended, yet I cannot avoid mentioning another excellence which he possessed in a very eminent degree; he was as much distinguished among his contemporaries for his diligence and industry, as he was for the natural faculties of his mind. We are told that his whole attention was absorbed in the pursuit of his art, and that he acquired the name of Masaccio*, from his total disregard to his dress, his person, and all the common concerns of life. He is, indeed, a signal instance of what welldirected diligence will do in a short time; he lived but twenty-seven years; yet in that short space carried the art so far beyond what it had before reached, that he appears to stand alone as a model for his successors. Vasari gives a long catalogue of Painters and Sculptors, who formed their taste, and learned their Art, by studying his works; among those, he names Michael Angelo, Lionardo da Vinci, Pietro Perugino, Raffaelle, Bartolomeo, Andrea del Sarto, Il Rosso, and Pierino del Vaga.

The habit of contemplating and brooding over the ideas of great geniuses, till you find yourself warmed

* The addition of accio denotes some deformity or imperfection attending that person to whom it is applied.-R.

by the contact, is the true method of forming an artistlike mind; it is impossible, in the presence of those great men, to think, or invent in a mean manner; a state of mind is acquired that receives those ideas only which relish of grandeur and simplicity.

Besides the general advantage of forming the taste by such an intercourse, there is another of a particular kind, which was suggested to me by the practice of Raffaelle, when imitating the work of which I have been speaking. The figure of the Proconsul, Sergius Paulus, is taken from the Felix of Masaccio, though one is a front figure, and the other seen in profile; the action is likewise somewhat changed: but it is plain Raffaelle had that figure in his mind. There is a circumstance indeed, which I mention by the by, which marks it very particularly; Sergius Paulus wears a crown of laurel; this is hardly reconcileable to strict propriety, and the costume, of which Raffaelle was in general a good observer; but he found it so in Masaccio, and he did not bestow so much pains in disguise as to change it. It appears to me to be an excellent practice, thus to suppose the figures which you wish to adopt in the works of those great Painters to be statues; and to give, as Raffaelle has here given, another view, taking care to preserve all the spirit and grace you find in the original.

I should hope, from what has been lately said, that it is not necessary to guard myself against any supposition of recommending an entire dependence upon former masters. I do not desire that you should get other people to do your business, or to think for you; I only wish you to consult with, to call in, as counsellors, men the most distinguished for their knowledge and experience, the result of which counsel must ultimately depend upon yourself. Such conduct in the

commerce of life has never been considered as disgraceful, or in any respect to imply intellectual imbecility; it is a sign rather of that true wisdom, which feels individual imperfection; and is conscious to itself how much collective observation is necessary to fill the immense extent, and to comprehend the infinite variety of nature. I recommend neither self-dependence nor plagiarism. I advise you only to take that assistance which every human being wants, and which, as appears from the examples that have been given, the greatest painters have not disdained to accept. Let me add, that the diligence required in the search, and the exertion subsequent in accommodating those ideas to your own purpose, is a business which idleness will not, and ignorance cannot, perform. But in order more distinctly to explain what kind of borrowing I mean, when I recommend so anxiously the study of the works of great masters, let us, for a minute, return again to Raffaelle, consider his method of practice, and endeavour to imitate him, in his manner of imitating others.

The two figures of St. Paul which I lately mentioned, are so nobly conceived by Masaccio, that perhaps it was not in the power even of Raffaelle himself to raise and improve them, nor has he attempted it; but he has had the address to change in some measure without diminishing the grandeur of their character; he has substituted, in the place of a serene composed dignity, that animated expression which was necessary to the more active employment he assigned them.

In the same manner he has given more animation to the figure of Sergius Paulus, and to that which is introduced in the picture of St. Paul preaching, of which little more than hints are given by Masaccio, which Raffaelle has finished. The closing the eyes of this

figure, which in Masaccio might be easily mistaken for sleeping, is not in the least ambiguous in the Cartoon: his eyes indeed are closed, but they are closed with such vehemence, that the agitation of a mind perplexed in the extreme is seen at the first glance; but what is most extraordinary, and I think particularly to be admired, is, that the same idea is continued through the whole figure, even to the drapery, which is so closely muffled about him, that even his hands are not seen; by this happy correspondence between the expression of the countenance, and the disposition of the parts, the figure appears to think from head to foot. Men of superior talents alone are capable of thus using and adapting other men's minds to their own purposes, or are able to make out and finish what was only in the original a hint or imperfect conception. A readiness in taking such hints, which escape the dull and ignorant, makes in my opinion no inconsiderable part of that faculty of the mind which is called Genius.

It often happens that hints may be taken and employed in a situation totally different from that in which they were originally employed. There is a figure of a Bacchante leaning backward, her head thrown quite behind her, which seems to be a favourite invention, as it is so frequently repeated in basso-relievos, cameos, and intaglios; it is intended to express an enthusiastic frantic kind of joy. This figure Baccio Bandinelli, in a drawing that I have of that Master, of the Descent from the Cross, has adopted, (and he knew very well what was worth borrowing,) for one of the Marys, to express frantic agony of grief. It is curious to observe, and it is certainly true, that the extremes of contrary passions are with very little variation expressed by the same action.

If I were to recommend method in any part of the