"Among other causes that militate against either painting or sculpture succeeding in this nation, we must place our religion; which, inculcating unadorned simplicity, does not require—nay, absolutely forbids—images for worship, or pictures to excite enthusiasm. Paintings are considered as pieces of furniture, and Europe is already overstocked with the works of other ages. These, with copies countless as the sands on the sea-shore, are bartered to and fro, and quite sufficient for the demands of the curious, who naturally prefer scarce, expensive, and far-fetched productions to those which they might have on low terms at home. Who can be expected to give forty guineas for a modern landscape, though in ever so superior a style, when he can purchase one which, for little more than double the sum, shall be sanctioned by a sounding name, and warranted original by a solemn-faced connoisseur? This considered, can it excite wonder that the arts have not taken such deep root in this soil as in places where the people cultivate them from a kind of religious necessity, and where proficients have so much more profit in the pursuit? Whether it is to our honour or disgrace, I will not presume to say, but the fact is indisputable, that the public encourage trade and mechanics rather than painting and sculpture. Is it then reasonable to think that the artist, who, to attain essential excellence in his profession, should have the talents of a Shakspeare, a Milton, or a Swift, will follow this tedious and laborious study merely for fame, when his next-door neighbour, perhaps a porter-brewer or an haberdasher of smallwares, can without any genius accumulate an enormous fortune in a few years, become a lord mayor or a member of Parliament, and purchase a title for his heir? Surely no; for as very few painters get even moderately rich, it is not reasonable to expect that they should waste their lives in cultivating the higher branch of the art until their country becomes more alive to its importance, and better disposed to reward their labours.
"These are the true causes that have retarded our progress; and for this shall a nation, which has in all ages abounded in men of sound understanding and the brightest parts, be branded with incapacity by a set of pedantic dreamers, who seem to imagine that the degrees of genius are to be measured like the degrees on a globe, determine a man's powers from the latitude in which he was born, and think that a painter, like certain tender plants, can only thrive in a hothouse? Gross as are these absurdities, there will always be a band of profound blockheads ready to adopt and circulate them, if it were only upon the authority of the great names by which they are sanctioned.[37]
"To return to our Royal Academy. I am told that one of their leading objects will be sending young men abroad to study the antique statues, etc. Such kind of studies may sometimes improve an exalted genius, but they will not create it; and whatever has been the cause, this same travelling to Italy has, in several instances that I have seen, seduced the student from nature, and led him to paint marble figures,—in which he has availed himself of the great works of antiquity, as a coward does when he puts on the armour of an Alexander; for with similar pretensions and similar vanity, the painter supposes he shall be adored as a second Raphael Urbino.
"The fact is, that everything necessary for the student in sculpture or painting may at this time be procured in London. Of the 'Venus' and the 'Gladiator' we have small casts; and even the 'Torso,' by which Michael Angelo asserted he learned all he knew of the art, has been copied in a reduced size, and the cast, by which the principle may be clearly seen, is sold for a few shillings. These small casts, if quite correct, are full as useful to the student as the originals; the parts are easier comprehended, they are more portable to place in different lights, and of an even colour, while the old Parian marbles are apt to shine, dazzle, and confound the eye. If this be doubted, let a plaster figure be smoked and oiled, and the true dimensions of the muscles can be no more distinguished than those of a sooty chimney-sweeper.
"After all, though the best statues are unquestionably in parts superlatively fine, and superior to nature, yet they have invariably a something that is inferior.
"As to pictures, there are enough in England to seduce us from studying nature, which every man ought to do if he aims at any higher rank than being an imitator of the works of others; and to such servile spirits I will offer no advice.
"In one word, I think that young men by studying in Italy have seldom learnt much more than the names of the painters; though sometimes they have attained the amazing power of distinguishing styles,[38] and knowing by the hue of the picture the hard name of the artist,—a power which, highly as they pride themselves upon it, is little more than knowing one handwriting from another. For this they gain great credit, and are supposed vast proficients because they have travelled. They are gravely attended to by people of rank, with whom they claim acquaintance, and talk of the antique in a cant phraseology made up of half or whole Italian, to the great surprise of their hearers, who become gulls in order to pass for connoisseurs,—wonder with a foolish face of praise, and bestow unqualified admiration on the marvellous bad copies of marvellous bad originals which they have brought home as trophies, and triumphantly display to prove their discernment and taste.
"Neither England nor Italy ever produced a more contemptible dauber than the late Mr. Kent; and yet he gained the prize at Rome, in England had the first people for his patrons, and, to crown the whole, was appointed Painter to the King. But in this country such men meet with the greatest encouragement, and soonest work their way into noblemen's houses and palaces.[39]