art exhibited, forming but a lesser point of attraction to them.

I have often considered what could be the cause of this so common declaration concerning so wonderful a production of the ingenuity of man; and in which I, influenced only by a sense of truth, beheld so much to gratify both the eye and the mind; and have asked myself, if the art or the beholder were in fault? In answer, I could only find a justification of a remark made by Sir J. Reynolds, "that an understanding and a relish of the excellencies of refined art, are attained only by cultivation of taste, and improvement of mind in whatever relates to it." Men, in an uncultivated state, are most delighted with gaudy and glittering ornament, with bright colours, and strong or fierce display of passion: whilst those who are improved by civilisation, prefer the combination of simplicity with beauty, refined and delicate unions of colours, a polished ornamental display of sense, and deep and clear but moderated tokens of feeling: such likewise is the effect of the display of different classes of art, the higher class coming within the sphere of the latter kind of influence. Certainly, in nothing can the specific distinction of these two conditions of men be displayed more fully, than in the effects produced by the labours of art.

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The fault then lies in the want of a just direction of mind being given to those who go abroad to learn to admire pictures and statues. Going to see those finished productions of imagination and of polished taste, they do it without a previous acquirement of the knowledge requisite to direct their observation beneficially; without that advancement in taste which can alone fit them for the full enjoyment of the pleasure such things are capable of affording, and they "cannot understand them." Consequently, such works are regarded merely as matters of curiosity, and not as objects deserving of the highest respect and consideration, as the rarest productions of taste and intellect.

There is an operating cause adverse to the just feeling which I wish to see excited, in that the practice of painting is diffused through many channels, practised in diversified manners, applied to low and common-place purposes, by low and vulgar minds; and too often employed as mere furniture, or in a worse manner, by many, whom few regard, and none can honour. These circumstances, which must ever operate, too commonly, but too naturally also, deprive the art of that respectful consideration generally, which in itself and in its best purposes, it merits; and men are thus made apt to regard its pro

ductions as little more than specimens of ingenious handicraft; of skill, rather than of intellect and of invention. This thought once settled in the mind, without reflection, all classes of painting are more or less brought within its influence; and the whole being thus loosely and lowly impressed on the uninitiated, no preparation is thought necessary for the observation of its best and most perfect application.

That this should be the case, so widely extended as it is, even among the most learned in this period of learning, is the more extraordinary when it is remembered, that, the productions of the art which have led to these reflections have so long maintained preeminence by the invention and ingenuity displayed in them; are indeed alone in their peculiar perfections, and are acknowledged to be justly so regarded by competent authorities.

Hence it must appear, that those perfections could only have been the result of greater and purer intellectual power in the minds of the painters, than was given to others who have attempted to follow them.

Notwithstanding this evident demonstration of their extreme value, as well as rarity, and that consequently there must lie under their surface much worthy of investigation, they are very

few

indeed, who pay them more than common regard; or who conceive that a little previous enquiry into the nature of the principles upon which such works are wrought, and the objects they were intended to illustrate, would be rewarded a thousand fold in the increase of pleasure they might enjoy on beholding them.

A desire to stimulate to this good end, or rather to aid the exertions of my predecessors, is another portion of the apology I would offer for entering the lists of authorship as a professor of the art of painting.

I am afraid that there is but small likelihood of the art being ever again applied to any great beneficial purpose, which may require the full exercise of the great principles and power exhibited in those wonderful paintings.

Though there are some in private life, who, generously actuated, are inclined to patronise ingenious artists, following the feelings, and gratifying the peculiar inclinations of their own. minds; yet, if this continue to be the only system of patronage in the country, we may look in vain for any adequate means of creating a national character in art by the production of great and important historical works. Neither can our establishments of a Royal Academy and a National Gallery of Art produce any further effect, than

that of affording the youthful aspirant for fame the means of acquiring the qualifications necessary for obtaining the desired end; but, as the case now stands, destined to be employed on less important objects.

Let it be recollected to what great end the works to which I have alluded were directed, where they were performed, and under whose direction! They were wrought at the instigation of men governing at the head of a great ruling power, actuated by the necessity of maintaining that power by all that could stimulate the public mind to abstraction from worldly considerations, to devotedness to religious feeling, and to that veneration for the mysteries of religion under the influence of which the directors sought to secure submission to superior knowledge, and supposed superior sanctity.

It cannot be conceived that so many able men as were engaged in promoting this object, would give their attention, or waste the wealth of the church entrusted to their care, being moved only by the empty vanity of having an ornament added to the splendour of the temples they had erected. It was done in the expectation, founded on the susceptibility of the human heart, or rather in the certain benefit to be drawn from it, that an ample return would be