lence, and hope to obtain the reward of
eminence by other means than those which the indispensable rules of art
have prescribed. They must, therefore, be told again and again that
labour is the only price of solid fame, and that whatever their force of
genius may be, there is no easy method of becoming a good painter.

When we read the lives of the most eminent painters, every page informs
us that no part of their time was spent in dissipation. Even an increase
of fame served only to augment their industry. To be convinced with what
persevering assiduity they pursued their studies, we need only reflect on
their method of proceeding in their most celebrated works. When they
conceived a subject, they first made a variety of sketches; then a
finished drawing of the whole; after that a more correct drawing of every
separate part, heads, hands, feet, and pieces of drapery; they then
painted the picture, and after all re-touched it from the life. The
pictures, thus wrought with such pain, now appear like the effect of
enchantment, and as if some mighty genius had struck them off at a blow.

But, whilst diligence is thus recommended to the students, the visitors
will take care that their diligence be effectual; that it be well
directed and employed on the proper object. A student is not always
advancing because he is employed; he must apply his strength to that part
of the art where the real difficulties lie; to that part which
distinguishes it as a liberal art, and not by mistaken industry lose his
time in that which is merely ornamental. The students, instead of vying
with each other which shall have the readiest band, should be taught to
contend who shall have the purest and most correct outline, instead of
striving which shall produce the brightest tint, or, curiously trifling
endeavour to give the gloss of stuffs so as to appear real, let their
ambition be directed to contend which shall dispose his drapery in the
most graceful folds, which shall give the most grace and dignity to the
human figure.

I must beg leave to submit one thing more to the consideration of the
visitors, which appears to me a matter of very great consequence, and the
omission of which I think a principal defect in the method of education
pursued in all the academies I have ever visited. The error I mean is,
that the students never draw exactly from the living models which they
have before them. It is not indeed their intention, nor are th