In the same rank, and, perhaps, of not so great merit, is the cold painter of portraits.  But his correct and just imitation of his object has its merit.  Even the painter of still life, whose highest ambition is to give a minute representation of every part of those low objects, which he sets before him, deserves praise in proportion to his attainment; because no part of this excellent art, so much the ornament of polished life, is destitute of value and use.  These, however, are by no means the views to which the mind of the student ought to be primarily directed.  By aiming at better things, if from particular inclination, or from the taste of the time and place he lives in, or from necessity, or from failure in the highest attempts, he is obliged to descend lower; he will bring into the lower sphere of art a grandeur of composition and character that will raise and ennoble his works far above their natural rank.

A man is not weak, though he may not be able to wield the club of Hercules; nor does a man always practise that which he esteems the beat; but does that which he can best do.  In moderate attempts, there are many walks open to the artist.  But as the idea of beauty is of necessity but one, so there can be but one great mode of painting; the leading principle of which I have endeavoured to explain.

I should be sorry if what is here recommended should be at all understood to countenance a careless or indetermined manner of painting.  For though the painter is to overlook the accidental discriminations of nature, he is to pronounce distinctly, and with precision, the general forms of things.  A firm and determined outline is one of the characteristics of the great style in painting; and, let me add, that he who possesses the knowledge of the exact form, that every part of nature ought to have, will be fond of expressing that knowledge with correctness and precision in all his works.

To conclude:  I have endeavoured to reduce the 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.