‘We intend to offer a few general observations in illustration of this view of the subject, which appears to us to be just. There are three ways in which institutions for the promotion of the fine arts may be supposed to favour the object in view; either by furnishing the best models to the student,—or by holding out the prospect of immediate patronage and reward,—or by diffusing a more general taste for the arts. All of these so far from answering the end proposed, will be found on examination, to have a contrary tendency.’
[The second paper in The Champion begins here, with the motto: ‘It was ever the trick of our English nation, if they had a good thing, to make it too common.’]
‘We observed in the conclusion of our last article on this subject, that there were three ways in which academies or public institutions might be supposed to promote the fine arts,—either by furnishing the best models to the student, or by holding out immediate emolument and patronage, or by improving the public taste. We shall consider each of these in order.
‘First, a constant reference to the best models of art necessarily tends to enervate the mind, to intercept our view of nature, and to distract the attention by a variety of unattainable excellence. An intimate acquaintance with the works of the celebrated masters, may, indeed, add to the indolent refinements of taste, but will never produce one work of original genius,—one great artist.’
[409]. Cimabue. Giovanni Cimabue, of Florence (1240-?1302), the ‘Father of Modern Painting,’ or more accurately, whose work marks the close of the old school before the opening of the new by his pupil Giotto and others.
Massacio. Tommaso Guidi, or Masaccio (Slovenly Tommy, for his careless manners), Florentine painter (1401–1428).
Carlo Maratti. See ante, note to p. [19].
Raphael Mengs. See ante, note to p. [203].
After pretend to combine add: ‘Inoffensive insipidity is the utmost that can ever be expected, because it is the utmost that ever was attained, from the desire to produce a balance of good qualities, and to animate lifeless compositions by the transfusion of a spirit of originality.’
After uniform mediocrity add: ‘There is a certain pedantry, a given division of labour, an almost exclusive attention to some one object, which is necessary in Art, as in all the works of man. Without this, the unavoidable consequence is a gradual dissipation and prostitution of intellect, which leaves the mind without energy to devote to any pursuit the pains necessary to excel in it, and suspends every purpose in irritable imbecility. But the modern painter is bound not only to run the circle of his own art, but of all others. He must be “statesman, chemist, fiddler, and buffoon.”[[89]] He must have too many accomplishments to excel in his profession. When every one is bound to know every thing, there is no time to do any thing. Besides, the student,’ etc.