ned from precept, founded on prescriptive authority more than on the
verdicts of nature." Of the effects of the system pursued by the French
Academy from such precepts, our author is, perhaps, not undeservedly
severe.

"About the middle of the last century the German critics, established at
Rome, began to claim the exclusive privilege of teaching the art, and to
form a complete system of antique style. The verdicts of Mengs and
Winkelmann, become the oracles of antiquaries, dilettanti, and artists,
from the Pyrenees to the utmost north of Europe, have been detailed, and
are not without their influence here. Winkelmann was the parasite of the
fragments that fell from the conversation or the tablets of Mengs--a
deep scholar, and better fitted to comment on a classic than to give
lessons on art and style, he reasoned himself into frigid reveries and
Platonic dreams on beauty. As far as the taste or the instruction of his
tutor directed, he is right when they are; and between his own learning
and the tuition of the other, his history of art delivers a specious
system, and a prodigious number of useful observations." "To him Germany
owes the shackles of her artists, and the narrow limits of their aim."
Had Fuseli lived to have witnessed the "revival" at Munich, he would
have appreciated the efforts made, and still making, there. He speaks of
the works of Mengs with respect. "The works of Mengs himself are, no
doubt, full of the most useful information, deep observation, and often
consummate criticism. He has traced and distinguished the principles of
the moderns from those of the ancients; and in his comparative view of
the design, colour, composition, and expression of Raffaelle, Correggio,
and Tiziano, with luminous perspicuity and deep precision, pointed out
the prerogative or inferiority of each. As an artist, he is an instance
of what perseverance, study, experience, and encouragement can achieve
to supply the place of genius." He then, passing by all English critics
preceding Reynolds, with the petty remark, that "the last is undoubtedly
the first," says--"To compare Reynolds with his predecessors, would
equally disgrace our judgment, and impeach our gratitude. His volumes
can never be consulted without profit, and should never be quitted by
the student's hand but to embody, by exercise, the precepts he gives and
the means he points out." It is useful thus to see together the
authorities which a student should consult,