idea of beauty to general
principles. And I had the pleasure to observe that the professor of
painting proceeded in the same method, when he showed you that the
artifice of contrast was founded but on one principle. And I am
convinced that this is the only means of advancing science, of clearing
the mind from a confused heap of contradictory observations, that do but
perplex and puzzle the student when he compares them, or misguide him if
he gives himself up to their authority; but bringing them under one
general head can alone give rest and satisfaction to an inquisitive mind.

A DISCOURSE
Delivered to the Students of the Royal Academy on the Distribution of the
Prizes, December 10, 1771, by the President.

Gentlemen,--The value and rank of every art is in proportion to the
mental labour employed in it, or the mental pleasure produced by it. As
this principle is observed or neglected, our profession becomes either a
liberal art or a mechanical trade. In the hands of one man it makes the
highest pretensions, as it is addressed to the noblest faculties, In
those of another it is reduced to a mere matter of ornament, and the
painter has but the humble province of furnishing our apartments with
elegance.

This exertion of mind, which is the only circumstance that truly ennobles
our art, makes the great distinction between the Roman and Venetian
schools. I have formerly observed that perfect form is produced by
leaving out particularities, and retaining only general ideas. I shall
now endeavour to show that this principle, which I have proved to be
metaphysically just, extends itself to every part of the art; that it
gives what is called the grand style to invention, to composition, to
expression, and even to colouring and drapery.

Invention in painting does not imply the invention of the subject, for
that is commonly supplied by the poet or historian. With respect to the
choice, no subject can be proper that is not generally interesting. It
ought to be either some eminent instance of heroic action or heroic
suffering. There must be something either in the action or in the object
in which men are universally concerned, and which powerfully strikes upon
the public sympathy.

Strictly speaking, indeed, no subject can be of universal, hardly can it
be of general concern: but there are events and characters so popularly
known in those countries where our art is in request, that they may be
considered as s