Fifteen Discourses

by Sir Joshua Reynolds

If your ambition, therefore, be to equal Raffaelle, you must do as Raffaelle did; take many models, and not even him for your guide alone, to the exclusion of others.[8] And yet the number is infinite of those who seem, if one may judge by their style, to have seen no other works but those of their master, or of some favourite, whose manner is their first wish, and their last.

I will mention a few that occur to me of this narrow, confined, illiberal, unscientific, and servile kind of imitators. Guido was thus meanly copied by Elizabetta, Sirani, and Simone Cantarina; Poussin, by Verdier and Cheron; Parmeggiano, by Jeronimo Mazzuoli. Paolo Veronese and Iacomo Bassan had for their imitators their brothers and sons. Pietro da Cortona was followed by Ciro Ferri and Romanelli; Rubens, by Jacques Jordaens and Diepenbeke; Guercino, by his own family, the Gennari. Carlo Maratti was imitated by Giuseppe Chiari and Pietro da Pietri; and Rembrandt, by Bramer, Eeckhout, and Flink. All these, to whom may be added a much longer list of painters, whose works among the ignorant pass for those of their masters, are justly to be censured for barrenness and servility.

To oppose to this list a few that have adopted a more liberal style of imitation;—Pellegrino Tibaldi, Rosso, and Primaticcio, did not coldly imitate, but caught something of the fire that animates the works of Michael Angelo. The Caraccis formed their style from Pellegrino Tibaldi, Correggio, and the Venetian school. Domenichino, Guido, Lanfranco, Albano, Guercino, Cavidone, Schidone, Tiarini, though it is sufficiently apparent that they came from the school of the Caraccis, have yet the appearance of men who extended their views beyond the model that lay before them, and have shown that they had opinions of their own, and thought for themselves, after they had made themselves masters of the general principles of their schools.

Le Sueur’s first manner resembles very much that of his master Voüet: but as he soon excelled him, so he differed from him in every part of the art. Carlo Maratti succeeded better than those I have first named, and I think owes his superiority to the extension of his views; beside his master Andrea Sacchi, he imitated Raffaelle, Guido, and the Caraccis. It is true, there is nothing very captivating in Carlo Maratti; but this proceeded from a want which cannot be completely supplied; that is, want of strength of parts. In this certainly men are not equal; and a man can bring home wares only in proportion to the capital with which he goes to market. Carlo, by diligence, made the most of what he had; but there was undoubtedly a heaviness about him, which extended itself, uniformly, to his invention, expression, his drawing, colouring, and the general effect of his pictures. The truth is, he never equalled any of his patterns in any one thing, and he added little of his own.

But we must not rest contented even in this general study of the moderns; we must trace back the art to its fountain-head; to that source from whence they drew their principal excellences, the monuments of pure antiquity. All the inventions and thoughts of the ancients, whether conveyed to us in statues, bas-reliefs, intaglios, cameos, or coins, are to be sought after and carefully studied; the genius that hovers over these venerable relics, may be called the father of modern art.

From the remains of the works of the ancients the modern arts were revived, and it is by their means that they must be restored a second time. However it may mortify our vanity, we must be forced to allow them our masters; and we may venture to prophesy, that when they shall cease to be studied, arts will no longer flourish, and we shall again relapse into barbarism.

The fire of the artist’s own genius operating upon these materials which have been thus diligently collected, will enable him to make new combinations, perhaps, superior to what had ever before been in the possession of the art: as in the mixture of the variety of metals, which are said to have been melted and run together at the burning of Corinth, a new and till then unknown metal was produced, equal in value to any of those that had contributed to its composition. And though a curious refiner should come with his crucibles, analyse and separate its various component parts, yet Corinthian brass would still hold its rank amongst the most beautiful and valuable of metals.

We have hitherto considered the advantages of imitation as it tends to form the taste, and as a practice by which a spark of that genius may be caught, which illumines those noble works that ought always to be present to our thoughts.

We come now to speak of another kind of imitation; the borrowing a particular thought, an action, attitude, or figure, and transplanting it into your own work; this will either come under the charge of plagiarism, or be warrantable, and deserve commendation, according to the address with which it is performed. There is some difference likewise, whether it is upon the ancients or moderns that these depredations are made. It is generally allowed, that no man need be ashamed of copying the ancients: their works are considered as a magazine of common property, always open to the public, whence every man has a right to take what materials he pleases; and if he has the art of using them, they are supposed to become to all intents and purposes his own property. The collection of the thoughts of the ancients, which Raffaelle made with so much trouble, is a proof of his opinion on this subject. Such collections may be made with much more ease, by means of an art scarce known in his time; I mean that of engraving; by which, at an easy rate, every man may now avail himself of the inventions of antiquity.

It must be acknowledged that the works of the moderns are more the property of their authors. He, who borrows an idea from an ancient, or even from a modern artist not his contemporary, and so accommodates it to his own work, that it makes a part of it, with no seam or joining appearing, can hardly be charged with plagiarism: poets practise this kind of borrowing, without reserve. But an artist should not be contented with this only; he should enter into a competition with his original, and endeavour to improve what he is appropriating to his own work. Such imitation is so far from having anything in it of the servility of plagiarism, that it is a perpetual exercise of the mind, a continual invention. Borrowing or stealing with such art and caution will have a right to the same lenity as was used by the Lacedemonians; who did not punish theft, but the want of artifice to conceal it.