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diff --git a/42371-8.txt b/42371-8.txt deleted file mode 100644 index 7970369..0000000 --- a/42371-8.txt +++ /dev/null @@ -1,1886 +0,0 @@ -The Project Gutenberg eBook, Dissertation on the Progress of the Fine -Arts, by John Robert Scott - - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: Dissertation on the Progress of the Fine Arts - Augustan Reprint Society Publication No. 45, 1954 - - -Author: John Robert Scott - - - -Release Date: March 19, 2013 [eBook #42371] - -Language: English - -Character set encoding: ISO-8859-1 - - -***START OF THE PROJECT GUTENBERG EBOOK DISSERTATION ON THE PROGRESS OF -THE FINE ARTS*** - - -E-text prepared by Tor Martin Kristiansen, Nicole Henn-Kneif, Joseph -Cooper, and the Online Distributed Proofreading Team (http://www.pgdp.net) - - - -Transcriber's note: - - Text enclosed by underscores is in italics (_italics_). - - - - - -The Augustan Reprint Society - -JOHN ROBERT SCOTT - -DISSERTATION ON THE PROGRESS OF THE FINE ARTS - -With an Introduction by Roy Harvey Pearce - - - - - - - -Publication Number 45 - -Los Angeles -William Andrews Clark Memorial Library -University of California -1954 - - * * * * * - -GENERAL EDITORS - -RICHARD C. BOYS, _University of Michigan_ -RALPH COHEN, _University of California, Los Angeles_ -VINTON A. DEARING, _University of California, Los Angeles_ -LAWRENCE CLARK POWELL, _Clark Memorial Library_ - - -ASSISTANT EDITOR - -W. EARL BRITTON, _University of Michigan_ - - -ADVISORY EDITORS - -EMMETT L. AVERY, _State College of Washington_ -BENJAMIN BOYCE, _Duke University_ -LOUIS BREDVOLD, _University of Michigan_ -JOHN BUTT, _King's College, University of Durham_ -JAMES L. CLIFFORD, _Columbia University_ -ARTHUR FRIEDMAN, _University of Chicago_ -EDWARD NILES HOOKER, _University of California, Los Angeles_ -LOUIS A. LANDA, _Princeton University_ -SAMUEL H. MONK, _University of Minnesota_ -ERNEST C. MOSSNER, _University of Texas_ -JAMES SUTHERLAND, _University College, London_ -H. T. SWEDENBERG, JR., _University of California, Los Angeles_ - - -CORRESPONDING SECRETARY - -EDNA C. DAVIS, _Clark Memorial Library_ - - * * * * * - - - -INTRODUCTION - - -Scott's "Dissertation on the Progress of the Fine Arts" embodies what we -can now see as a final development in his century's deep concern to -understand why what it so often admitted was the greatest art had -somehow not been forthcoming in what it as often claimed was the -greatest century. The "Dissertation" is in no way an original work; -rather--and this is its primary value for us--its author takes a belief -which his culture has given him and, like others before him, tries to -clarify one of its implications. The belief is in the idea of a -universal progress marred, if it in the end can be said to be marred, -only by an esthetic primitivism; the implication is that that esthetic -primitivism can be not only comprehended but surmounted. Scott accepts -the century's commonplace that art of power and significance has been -necessarily produced only in societies markedly simpler than his own; -and he accepts too the fact (for such it was when men believed in it and -judged according to the principles generated by it) that in all forms of -culture excepting art, his own richly complex society has produced -something far surpassing anything produced in the "simpler" society of -classical Greece or of the Italian Renaissance. Scott's uniqueness is -that, unlike those of his predecessors who had worked with the same -belief, he does not try to establish an historical rationale for this -_status quo_. He goes so far as to envisage--perhaps it would be truer -to his state of mind to say posit--an enlightened modern society which -will at once remain what it is and yet so change itself as to make -possible the production of major art. - -The main interest for us in the "Dissertation," then, lies in Scott's -notions of the kind of society needed to produce major art, and beyond -that, in what is entailed in holding fast to that notion, developing it -into a doctrine, and even hoping to make it a reality in his own time. -He outlines the doctrine in great detail, simply by describing what he -takes to be the sociocultural situation of the classical Greek artist -(and incidentally, that of the artist of the Italian Renaissance). He -chooses to write almost entirely of the fine arts (for him in this case, -sculpture), although he conceives, as the student of his age would -expect him to, that what holds for the fine arts will also hold for -poetry. In the immediacy of appeal of sculpture, he finds a quality -which, when its working and expression are analysed, will let him see -just how the artist and his work have been ideally related to the -society in which they have flourished. - -Scott's description of the artist and his place in Greek society is one -which, in general, is familiar to students of eighteenth-century -critical theory. Equally familiar is his concern to establish the fact -that, as he puts it, "the connate temper of the times" made possible the -production of great art. He sees Greek art as being authentically marked -by the "rich raciness of the native soil." And he sees Greek society as -in all departments making the work of the artist possible. In small, -free, uncentralized states; in states where art has a public, memorial -function; in states where, because so many games and rituals are -performed naked, the artist is always directly and overwhelmingly aware -of the possibility of beauty in the human body--in such states, owing to -such "natural causes," art must necessarily flourish. Above all, art is -of the people and their artists as they form a vital community; it is -not borrowed; it is fresh and original. Finally, such a cultural -situation, and therefore such an art, is found obviously to be lacking -in his own time. - -Now this argument, carried up to this point, had been more or less -held to by many critics and literary theorists before Scott.[1] True -enough, they had mainly concerned themselves with poetry; yet they -found the source of major poetry to be ultimately in a nakedness -of language--made possible by what was taken to be the simplicity, -spontaneity, and cohesion of Greek life--comparable to Scott's notion of -nakedness of body. They differ from Scott in this: that almost -uniformly, so far as my reading goes, all had been willing to admit that -there was absolutely no hope for comparable artistic achievement in -their own time; that such art could be produced only in simpler, earlier -societies than their own; that, indeed, a characteristic of a mature -society was that it had grown up beyond the young, crude, exuberant -stage in which conditions were ideal for the cultivation of the esthetic -sensibilities. The ideal time for the production of major art, they -tended to conclude, was at that point in the history of a society when -it was moving from the savage into the civilized. They were thus not -absolute esthetic primitivists; but they were concerned nonetheless to -tie art to its primitive origins, as for the most part they were -concerned equally to celebrate their triumph over the limitations of -such origins. So, to take one example, Thomas Blackwell, meditating -Homer's achievement in his _Enquiry_, had written in 1735 that it does -not "seem to be given to one and the same Kingdom, to be thoroughly -civilized, and afford proper Subjects for Poetry"; and in the same work -he later declared that he hoped "_That we may never be a proper Subject -of an Heroic Poem_." Only by being a "Subject" for a heroic poem could -the poet write one; for only then would he have available to him the -living language--and thus the techniques--adequately to express that -"Subject." This was to be a dominant refrain--matched, to be sure, by a -counter-refrain, treatment of which is not immediately relevant -here[2]--through the century. A significant number of critics and -literary theorists would be willing to resign themselves to having a -lesser art, if such resignation would mean that they could adequately -celebrate the enlightened achievements of their own century. They -worked out a method of historical analysis whereby they might construct -"conjectural histories" of civilization which would allow them to place -poetry and the fine arts in the long line of the evolution of culture -toward their own time and to demonstrate, moreover, that even as the -arts had come early, so philosophy, proper religion, the sciences, and -all the highest forms of civilization had come late. Thus they could -announce triumphantly that if they had lost something, they had gained -much more. - -But still the greatness of the art which they did not have moved and -attracted them. Their work is perhaps a measure of their attempts to -rationalize out of existence a longing for the art which they felt their -time was not giving them. Perhaps that is why Scott, in the 1790's--his -mind, so it seems to us, not only informed but made by the critical -formulae of his time--tried to face squarely up to the fact that somehow -greet art had to be made possible for even his enlightened century. Yet -his mind was so simple and simplifying that he thought that merely by -denying his predecessors carefully worked out conjecture of the -necessary connection between an "early" society and great art, he could -prove that such was possible in his time. For the artist envisaged in -the "Dissertation" is still, in spite of his obvious attempts to have it -otherwise, the artist as conceived of by Blackwell and the rest of -Scott's predecessors. Scott glories in the civilized achievements of his -own age, yet somehow hopes that the same "liberal public encouragement" -that obtained in Greece will come again and make for such labor, pains, -and study as will create in England art as great as Greece's. Such a -condition, he feels, is not impossible; yet he says nothing of the kind -of social structure and character which he has already shown to be -requisite to the development of "liberal public encouragement." The -argument, such as it is, is left hanging. That is to say, there is no -evidence in the essay that Scott could really think through to the -possibility of the major artist's being immediately present in an -eighteenth-century society re-made, so far as its artistic life was -concerned, in a primitivistic pattern. He remains purely a theoretical -possibility in Scott's scheme of things, as does the society in which he -might flourish. - -Likewise, in the other essays[3] which Scott collected and published -along with the "Dissertation," there is no evidence that he really -understood what was involved in taking the stand he did. In the most -interesting of these pieces, "An Essay on the Influence of Taste on -Morals," he denies the existence of a Hutchesonian moral sense, -absolutely separates esthetic taste from morals, holds that art will -have an influence toward immorality unless it is kept in check with a -moral system properly inculcated by revealed religion. What he is -entirely unaware of is the possible radical implications of such a -separation of art and morality. As in the "Dissertation," he accepts a -conventional notion and is satisfied to push it as far as he can, never -exploring its possible ambiguities. - -The ambiguities are those, of course, which led to that transformation -of critical theory and artistic practice which we associate with the -romantic movement. In this light, it is interesting to note that just -fourteen years after the first publication of the "Dissertation" William -Hazlitt could take a stand almost identical in gross characteristics -with that of Scott and the others--this in his "Why the Arts are Not -Progressive."[4] For Hazlitt, because "the arts unlike the sciences and -the forms of high civilization in general hold immediate communication -with nature," they develop best soon after their "birth" and thrive "in -a state of society which [is], in other respects, comparatively -barbarous." He goes so far as to instance Homer, Chaucer, Spenser, -Shakespeare, Dante, Ariosto, Raphael, Titian, Michaelangelo, Correggio, -Cervantes, and Boccaccio. In all its extremity, in its inclusive -view of what constitutes a barbarous society and its peculiar cultural -virtues, this is but the conventional doctrine of Scott and all those -who came before him. But it is, in Hazlitt, transformed into a -statement, not, as in Scott's predecessors, of a rationale for the -weakness of art in their time, nor, as in Scott himself, of a dimly -espoused hope of art in his time. It becomes a frank, "sympathetic" -statement of a fact of life which, when granted, will enable men to -enjoy and comprehend great art of all ages. The doctrine is focussed on -the work of art, not on the culture which lacks it; it has been -crucially transformed from a historical into a heuristic principle. -Scott's "Dissertation" embodies the doctrine just before its -transformation--a neoclassical strain, we can say, just before it had -became a romantic strain. Scott almost takes his stand with Hazlitt; but -he is not quite there. And not being quite there, he is a whole world -away. - - Roy Harvey Pearce - Ohio State University - - - - - NOTES - - -[Footnote 1: Among the works that I have seen which specifically develop -this argument are: Thomas Blackwell, _An Enquiry into the Life and -Writings of Homer_ (1735); Richard Hurd, _The Third [Elizabethan] -Dialogue_ (1759) and _Letters on Chivalry and Romance_ (1762); John -Ogilvie, "An Essay on the Lyric Poetry of the Ancients," in _Poems on -Several Subjects_ (1762); John Brown, _A Dissertation of the Rise, -Union, and Power, the Progressions, Separations, and Corruptions of -Poetry and Music_ (1763) and a shorter version of the _Dissertation, The -History of the Rise and Progress of Poetry_ (1764); Hugh Blair, _A -Critical Dissertation on the Poems_ of Ossian (1763); William Duff, _An -Essay on Original Genius_ (1767); Robert Wood, _An Essay on the Original -Genius and Writings of Homer_ (1767, enlarged version 1769); Thomas -Pownall, _A Treatise on the Study of Antiquities_ (1782). Such a list, -however, if it were to indicate the scope and ramifications of the -argument would have to be expanded to include more general -eighteenth-century studies of the evolution of cultural forms; for the -argument on the nature of art and its relation to "primitive" societies -is part of a larger one centering on the whole idea of progress. -Treatment of the whole subject has never been fully integrated into a -study of the nature (or natures) of eighteenth-century criticism and -critical theory--although a start has been made on study of it in and of -itself. The basic treatment remains Lois Whitney's _Primitivism and the -Idea of Progress_ (Baltimore, 1934) and her two essays "English -Primitivistic Theories of Epic Origins," _MP_, XXI (1924), 337-378 and -"Thomas Blackwell, a Disciple of Shaftesbury," _PQ_, _V_ (1926), -196-211. These are to be considerably qualified in their general, -sociological orientation by Gladys Bryson's _Man and Society: The -Scottish Inquiry of the Eighteenth Century_ (Princeton, 1945). They are -further to be qualified in their literary-critical orientation by my -"The Eighteenth-Century Scottish Primitivists: Some Reconsiderations," -_ELH_, XII (1945), 203-220, which is in turn somewhat expanded upon and -generalized in the appendix to Ernest Tuveson's _Millenium and Utopia: -A Study in the Background of the Idea of Progress_ (Berkeley, 1949).] - -[Footnote 2: See, for example, Donald Foerster, "Scottish Primitivism -and the Historical Approach," _PQ_, XXIX (1950), 307-323.] - -[Footnote 3: The essay was republished in 1804 as part of Scott's -_Dissertations, Essays, and Parallels_. These pieces range from college -premium compositions of the 1770's to the "Dissertation" of 1800.] - -[Footnote 4: The essay is handily available in W. J. Bate's anthology, -_Criticism: The Major Texts_ (New York, 1952), pp. 292-295.] - - - - - DISSERTATIONS, - Essays, - AND - PARALLELS. - - BY - _JOHN ROBERT SCOTT, D. D._ - - - LONDON: - _Printed by T. Bensley, Bolt Court_, - - AND SOLD BY J. JOHNSON, 72, ST. PAUL'S CHURCH YARD; - AND MESS. C. & R. BALDWIN, NEW BRIDGE STREET, - BLACKFRIARS. - - 1804. - - - - - CONTENTS. - - - PAGE. - A Dissertation on the Influence of Religion - on Civil Society 1 - - A Dissertation on the Expulsion of the Moors - from Spain, and the Protestants from - France and the Low Countries 33 - - A Dissertation on the first Peopling of America 75 - - A Dissertation on the Progress of the Fine Arts 125 - - A Dissertation on National Population 181 - - An Essay on Writing History 219 - - An Essay on the Question, Was Eloquence - beneficial to Athens? 245 - - An Essay on the Influence of Taste on Morals 269 - - Comparison between William III, of England - and Henry IV, of France 303 - - Comparison of Cardinal Ximenes and Cardinal - Richelieu 323 - - Comparison between Augustus Cæsar and Lewis XIV 343 - - Comparison of Maximilian de Bethune, Duke of Sully, - and William Pitt, Earl of Chatham 361 - - - - - PREFACE. - - -Most of the following compositions were written several years ago, when -the Author was a student in the distinguished University of Dublin; -whose acknowledged excellence in classical literature, and in every -branch of scientific learning, needs not the celebration of his feeble -praise: and by it the first and second Dissertations, and one of the -Essays, were honoured with the first literary rewards in the power of -that learned body to bestow. Written at first with an honest desire of -acquiring fair reputation by praise-worthy exertions, they are now -submitted to the public eye from a wish to contribute to the liberal -amusement, and perhaps to the improvement, of the minds of his -fellow-creatures; with all the natural anxieties of an author -addressing a public, to whom he is little known; but without any -unmanly dread or humiliating deprecation of just and candid criticism. -Should they drop still-born from the press, as it may be has been the -fate of as meritorious compositions, the author (as becomes him) will -submit without murmuring to the general verdict. Should they, on the -contrary, be graced with a favourable reception, he shall deem himself -honoured by such notice; and will endeavour to render some larger works -of his, shortly to be submitted to the same respectable tribunal, as -worthy as his abilities will permit of its approving judgment. - - Gloucester Street, - Queen Square, 1804. - - - - - DISSERTATION - ON THE - _PROGRESS OF THE FINE ARTS_. - - (Published in 1800.) - - - - - TO - BENJAMIN WEST, ESQ. - PRESIDENT OF THE ROYAL ACADEMY, - - WHOSE TALENTS DIGNIFY, - AND WHOSE MANNERS ORNAMENT - HIS ELEVATED SITUATION AS HEAD OF - THAT HONOURABLE AND USEFUL - INSTITUTION, - - THE - FOLLOWING DISSERTATION - ON - - THE PROGRESS OF THE FINE ARTS - - IS DEDICATED, - WITH SINCERE RESPECT AND ALL DUE DEFERENCE, - BY HIS OBLIGED - AND FAITHFUL HUMBLE SERVANT, - - _JOHN ROBERT SCOTT_. - - 28, Gloucester Street, - Queen Square, April, 1800. - - - - - A DISSERTATION, &c. - - -The natural feelings of man, when he enters into society with his -fellow-creatures, first induce him to improve by the means thence -acquired the arts necessary to his existence and well-being: whose want -he every day felt in his separate and detached state, and for whose -melioration he has just reason to hope from the union of combined force, -and from the co-operation of confederated talents. Presst incessantly by -the demands for the sustenance of animal life, to supply them -plentifully is not only his first care, but also that of the community -with which he has associated, if it is even one degree removed from the -savage state: and hence, in this early period of growing civilization, -the tending of flocks and the tilling of fields, Pasturage and -Agriculture, are deemed not only necessary but honourable occupations; -the simplicity of untutored man ever leading him to estimate that to be -most laudable which he finds to be most useful. These being advanced to -a certain degree of excellence, which, though far inferior to what they -are obviously capable of attaining, is yet sufficient not only for the -comfortable but for the indulgent enjoyment of life, new desires arise, -new wants spring up; and their gratification is pursued with an -eagerness correspondent to the novelty of their origin, and the untried -force of their impression. The cravings of our animal nature being amply -provided for by the ingenuity of the inhabitants, by the fertility of -the soil, or by the conjoint operation of both, the imagination begins -in the luxuriance of abundance to picture to itself new sources of -delight, and spurning, not without some contempt, the mere provision for -existence, to fancy ideal pleasures, and to search out with anxious care -and laboured pains those objects which may gratify them. And man, -finding himself possessed of more than a sufficiency to supply all his -wants, is willingly inclined to impart some share of that redundance to -those who will contribute to his convenience and satisfaction; to those -who will render his comforts at all times more comfortable, who will -relieve the languors of his lassitude, and fill up the vacuities of his -leisure with amusement. As there always were some to whom labour had no -charms, other more agreeable means of acquiring support were quickly -sought out, and the inventive powers of the mind were stretched to form -those imagined pleasures whose want was felt, and whose reward was -ready. - -Hence Architecture, Painting, and Statuary, (with strict propriety -denominated the fine arts) primarily arose; hence they derived their -most assiduous cultivation, and hence the utmost perfection to which -they have yet attained. Unsatisfied with the hut that merely protected -from the inclemencies of the elements, and, in the moments of repose, -from the unwarned attacks of the savages of the forest, man soon sought -out for more permanent, more pleasing habitations: to which experience -first joined increased conveniences, and then his inventive faculties, -sometimes aided by fortunate chance, sometimes led on by correct fancy, -added those ornaments that have stood the test of ages, and fixed those -proportions that have uniformly approved themselves to all the judicious -through the revolving course of various centuries. The ingenuity of love -taught the fair nymph to portray the shadow of that favoured youth whose -merits had won her heart, that even in his absence she might feast her -mind with beholding some similitude of his form: and hence the -imagination, impregnated by the nascent thought, conceived those -possibilities of excellence in painting, and that source of intellectual -enjoyment thence arising, which Zeuxis and Parrhasius exhibited to the -admiring eyes of Greece, and which Raphael and Michael Angelo have -displayed to the enraptured contemplation of the modern world. -Poetry, it is true, early indeed enabled mankind, by the fascinating -power of its melodious sounds and its persuasive numbers, to "raise -monuments[e] more durable than brass," and to consecrate to immortality -those illustrious persons who had entitled themselves to lasting fame by -their deserts. But, even long antecedent to that period, the desire of -having some representative form of reverenced or beloved individuals had -taught men to make some likenesses of them in rude sculptures of stone -or ivory: though destitute of the advantage of colouring, yet more -impressively striking to the senses than the productions of painting, -had they then existed (which may be doubted), and, from the nature of -their materials, less liable to the injuries of the weather. These, we -acknowledge, were cold, inanimate, and destitute of all appearance of -motion; till Dædalus contrived to give expression to the countenance and -action to the limbs; on which succeeding artists improving, each -rivalling and then surpassing his predecessor, at length produced those -"works to wonder at," the exquisite, the unmatched, the divine dignity -of the Apollo Belvedere, the energy, the athletic force of the Borghese -combatant, the agonized expression of the Laocoon, and the tearful -sorrows of the Niobe. - -[Footnote e: Exegi monumentum ære perennius. Horatii Carmi. Lib. iii. -Ode 30.] - -The expectations formed of the enjoyments to be derived from the -masterly productions of these Arts have in no one instance been -disappointed; but, we may assert without fear of contradiction, have in -every case been greatly exceeded: for though the emanations of the arts, -with the single exception of the Apollo Belvedere, may have fallen short -of that ideal excellence which forms their standard in each duly -cultivated mind, as, in the department of literature, the great Roman -orator states to have been the case with his own admirable compositions, -they have yet confessedly arrived at a degree of beauty, a splendor of -effect, and a power of impression, hardly to be hoped, and not easily -to be conceived. - -Should it then be demanded, what causes produced this transcendent -beauty, this unrivalled grace, this combination of pleasing form and -perfect utility? They will be found, not in any fortuitous concurrence -of accidents, not in any benign aspect of the planets, not in any genial -influence of the atmosphere, as has been weakly imagined and absurdly -asserted by certain self-denominated Philosophers of the continent; but -to have been the effects of much labour and much pains, of much study -and much industry, of great national encouragement, and of the peculiar -situation of that fortunate land wherein they were advanced from their -salient principle to their matured perfection. - -To confine ourselves to Greece, with which and its history, by means of -its incomparable writers, we are best acquainted: the first striking -circumstance in their favour was, that in it they were not borrowed, nor -imported, nor caused by foreign imitation, but were the home-bred -produce of the country; and therefore, however cultivated and improved, -always retained the rich raciness of a native soil. Successive -generations of artists arose, each excelling the other in merit, and -each of these had a correspondent race of their countrymen ready to -admire, and prepared to applaud them. No fastidious delicacy, no -affected superiority of discernment or skill, repressed their talents, -or curbed their genius: but free scope was given to the boldest of their -flights, and, when they happened to succeed, the praise of their own age -was their sure and adequate reward. The productions of the earlier -periods would not have, indeed, pleased in the polished age of Pericles, -unless as illustrative of the progress of the arts; for then more -captivating models were every day produced, more enchanting examples -were every day exhibited to the view. But in their own age, and their -own time, being superior to all that had been seen before, they were -thought matchless performances, and so received with undisputed -plaudits the highest estimation. This connate temper of the times (if I -may use the expression) proved a most powerful incentive to the -abilities of the artists, and ensured to them, if surpassing in merit -their predecessors, honourable regard, and that fame[f] which above all -other considerations was dear to a Grecian heart. Hence labour and -pains, assiduity and exertion, were unremittingly applied to advance -their peculiar art, to smooth its asperities, to ornament its nakedness, -to improve whatever of excellent existed in it, and to aim at still -farther capabilities of excellence. Certain of the approbation of their -contemporaries, repressed by no ideas of unattainable perfection, which -were the growth of latter times and of the greatest refinement, they -daily added something to the common stock; and though that something was -in itself, perhaps, inconsiderable, it yet raised its possessor to no -common degree of celebrity. Thus the arts advanced, proceeding from -strength to strength, constantly receiving accessions of improvement, -which were favoured by many conspiring, and retarded by no unpropitious -circumstances: and, being native to the country, the abilities of the -artists in a great measure formed the taste of the age, as its fostering -admiration constituted their most flattering reward. - -[Footnote f: Præter laudem nullius avaris. Horatius De Arte Poetica.] - -From a situation perfectly dissimilar, though the Romans long and -sedulously cultivated the arts, yet their noblest efforts never equalled -the best works of the Grecian school; of which the sacred remnants still -remain unrivalled and unmatched. For amongst them they were not -indigenous, but introduced as it were by violence; by the power of the -conquering sword, and by the plundering of insatiable rapacity: each of -the Roman generals, however ignorant or unpolished himself, yet -pillaging vanquished Greece of the choicest works of her happier days. -Thus, indeed, exquisite models and patterns of consummate beauty were -procured for the rustic Latians,[g] on which they wrought with -assiduity, and attempted to emulate: but their redundancy was rather -oppressive than co-operative, and their very perfection tended to -prevent an encouraging esteem of the rising artists. For the judgment, -or what we call the Taste, of the public being formed not gradually, and -by progressive steps of improving art, but all at once, and (as it were) -at a bound, assumed a squeamish delicacy which nothing imperfect would -please, and which delighted more in finding faults than in discovering -beauties. And this cause, whose operation is alike powerful and general, -contributed more to keep down the Roman arts, and to prevent them from -equalling the Greek, than any inferiority of talents, or than any want -of continued application and culture. - -[Footnote g: - - - - - - - - artes - Intulit agresti Latio. Horatii Epis. Lib. ii. Ep. 1.] - -The case has been the same in the modern world, and it will be found -universally true, that where the arts have arisen from natural, or -nearly natural causes, and have thence proceeded by gradual advances to -higher degrees of perfection, the judgment or taste of the nation -similarly meliorating with their improvement, they have attained, and -will attain, the utmost excellence which the abilities of the artists -can give them: but when brought forward among a people by extraneous -circumstances, such as the force of conquests, the commanding influence -of supreme power, or the efforts of affected imitation, though they may -bloom and flourish for a season, that they never will arrive at that -richness of maturity they have been seen to possess elsewhere, nor will -enjoy that vigour of growth which native juices infuse; but, like -hothouse plants, though fairly seeming, are yet vapid to the sense, and -when bereft of their borrowed heat, quickly sink, rot, and die. - -The progress of the arts in the ancient world, with the astonishing -excellence to which they were carried, was also much aided by the -manners and customs there prevailing, and in constant and daily -practice. To games and vigorous exercises the ancients were remarkably -addicted, regarding them both as liberal amusements and as a preparatory -discipline for the active occupations of war, in which each freeman of -the state knew himself obliged to engage at a certain period of his -life, and which he could not avoid without being damned to never-ceasing -infamy. Now all these were performed _naked_, as well on account of the -warmth of the atmosphere as to preclude all unequal advantages, and to -habituate the mind fearlessly to expose the person to the assaults of -incumbent danger. Hence the human figure was hourly exhibited to the -inspecting view of the attentive beholder, whether sculptor or painter, -in all its various forms of grace and elegance, of strength and force, -or of agony and torture: and these not the assumed appearances of -fictitious feeling, but the vivid effects of actual endurance, and -glowing from the mint of present impression. These were not to be sought -in Schools and Academies, they were not the lifeless colourings of -mercenary hirelings, but the energies of men emulous of fame, and -conscious that their characters with their countrymen would be -materially influenced by their performances in these favourite contests. -Contests which as amusements were the delight of all, which as exercises -were the duty of multitudes; which hoary age beheld with rapture, as -recalling the remembrance of the days of their prime, and which -unfledged youth gazed on with transport, as picturing those deeds -whereby they panted soon to be distinguished. Thus nothing but the most -careless inattention could avoid noting the distinctive marks of the -various passions and affections, which nature writes in very legible -characters: and as all from repeated observation were equally well -acquainted with them, in their representation by the artist nothing -short of the most exact and accurate likeness could hope for tolerance, -much less for approbation. - -Their scientific knowledge of anatomy, as applicable and subservient to -medical purposes, was perhaps inferior to ours, for they appear not to -have enjoyed the advantage in their principal cities of such men as the -Hunters[h] and Cleghorn:[i] but that inferiority proved not injurious to -the artist, who chiefly engaged in imitating the prominent features of -the human frame when thrown into action, amply compensated for his -ignorance of the theory of muscular motion, of the nervous system, and -of osteology, by the effects of observation incessantly repeated on the -most striking objects, and, it may be, the more impressive from coming -unsought and uninculcated. In fact they could scarcely avoid making this -observation: it was presst on them from every quarter; it was urged on -them by every incident. If they attended their morning exercises, it was -excited there; if they resorted to their evening amusements, it was -roused there also. In the retirement of the country it was not allowed -to sleep; in the bustle of the city it was awakened to all its vivacity. -From private enjoyment, from public security; from the recreations of -peace, from the toils of war; from the vacuities of idleness, and from -the labours of industry it alike received nurture, support, and aliment. -Thus reiteratedly enforced, its effects became, like those of a second -nature, interwoven with the habitudes of the mind, and called forth into -action, when the occasion required, with readiness and facility, without -effort and without premeditation. Hence the wonders that we are told of -the astonishing power of their paintings, limited as we know they were -in the number of their colours; of which though we are deprived of the -sight by the lapse of time, yet are they rendered credible, nay, fully -verified, to us by the matchless remains of their statues; whose -transcendent merit we have ocular demonstration that neither prejudice -had praised nor ignorance had extolled beyond their real deserts. -Hence the truth of nature in the Laocoon, where the expression of -suffering is not confined to the agitated visage, but is as forcibly -marked in the agonized foot as in the distorted countenance. Hence every -muscle moves, every sinew is stretched, every atom of the figure -conspires to the general effect in the Borghese combatant:[k] and hence -each particular part of the Farnesian Hercules represents, as forcibly -as the entire statue, that character of superior manly strength and -resistless might, which ancient tales have taught us to connect with the -idea of the person of that fabled hero. - -[Footnote h: Dr. William Hunter and Mr. John Hunter, the late celebrated -anatomists of London.] - -[Footnote i: Dr. George Cleghorn, the late excellent and deservedly -famous Professor of Anatomy in the university of Dublin: a man of whom -it can be truly said that the excellent qualities of his heart were as -estimable as his superior professional talents were conspicuous.] - -[Footnote k: This statue, which forms one of the most valuable -possessions in the superb Borghese collection, is commonly called _the -fighting Gladiator_; but, we apprehend, very erroneously: as the whole -of that admirable figure bespeaks a character greatly superior to that -of those degraded and despised beings, whose mercenary services -contributed to the amusements of the Roman amphitheatre.] - -It cannot be inferred from what has been here said that there is -intended any unqualified approbation of the custom of appearing naked; -which so generally prevailed among the ancients, and more especially -among the Greeks. Surely no: for its indecency is obvious; it smoothed -the path to many immoralities, and doubtless tended in no slight degree -to inflame, if not kindle, some notorious vices to which they were -eminently addicted. But it has been merely considered with respect to -its subserviency to promote the arts of painting and sculpture: and its -powerful and salutary influence on them seems so apparent as to be -nearly incontestible. It co-operated with other causes, yet to be -mentioned, to give them that superlative excellence which, through a -long succession of centuries, has excited uniform admiration; and which -yet, superlative as it was, fell short of the ideas of it entertained -and cherished by the artists. - -The peculiar situation of Greece, from the first beginnings of the arts -to their most flourishing period, contributed also materially to their -improvement and perfection. In its utmost extent not a country of large -dimensions, it was yet divided and subdivided into a number of -independent states; each eager for distinction, each emulous of fame, -each jealous of all superiority in their neighbours. Never for any -length of time subject to the dominion of masters, till the overwhelming -influence of the Macedonian sunk them all into common slavery, their -constitutions were free, or what they regarded as free: in which each -citizen felt himself equally interested with any other to extend the -reputation, to exalt the glory, and to enlarge the consequence of the -state. And when the pre-eminence of power had assigned to Sparta, and -afterwards to Athens, that preponderance of authority and weight of -consequence necessary to a leading state, first among its equals; still, -from national spirit and from deep-rooted habits, an emulation every -where prevailed of rivalling in the first rank of reputation each of -their neighbours, although they had conceded to one of them the dignity -of command. With the single exception of Sparta, where the stern -discipline of Lycurgus effectually prevented their progress, as after -the arts had began to arise their cultivation was diffused and eagerly -pursued throughout all Greece; the praise of excellence in them early -became and long continued an object of the first importance with all its -various states. They regarded them not only as a means of internal -ornament, in which yet they much prided themselves, but also of external -character; a means which might raise to higher fame than the most -celebrated their favoured district, however inferior to them in -political power. Hence the possession of an artist of distinguished -abilities and superior talents was considered as a national concern: and -the esteem wherein he was held, the popularity he acquired, and the -dignified stations to which with fair prospects of success he might -aspire, were answerable to the consequence which his genius was thought -to confer on his native land. - -As this sentiment was universal, animating the minds and guiding the -conduct of all the different states, its influence on the improvement of -the arts, and on the exertions of their professors, was powerful in the -extreme. They were not deemed the lucrative trades of mechanical men, -by which some fame and much money might be procured; but the ennobling -occupations of the best-deserving citizens, anxiously labouring to exalt -the reputation of their country, and to raise her to a more envied -eminence among the surrounding and rival republics. And the citizens -thus employed were conscious, in addition to the common motives of -rivalry generally prevalent at all times among men of spirit engaged in -the same pursuits, that not only their individual character, but the -fame of their nation, was implicated in their labours; and fired by the -warm energy of that recollection, they wrought with a glowing heat, with -an ardour of enthusiasm that, in repeated instances, burst forth in the -brightest blaze of excellence. For their exertions in their particular -arts were not thought, either by themselves or by the public, the mere -efforts of competition of sculptors, painters, or architects, with their -fellow artists; but trials of merit between adjacent communities, each -vain of their present character, each aiming at higher distinction, -each hoping for the pre-eminence: to which trials the eminent artists -stept forwards the champions of a people, not the combatants in a -private contest. - -Hence with unremitting zeal beauty and grace, strength and spirit, truth -and nature, were investigated through all their different forms, were -examined with minute attention, were applied with scrupulous accuracy. -It little weighed with the professor what his own countrymen, however -polished, judged of his work, what impression it made on them, or what -plaudits of theirs it called forth: but how it would be received at the -Olympic or Isthmian games, at the general assembly of all Greece; where -each skilful eye and each intelligent mind would be employed in -scrutinizing it without favour or affection, and would compare it as -well with the best productions of similar art then known as with the -elaborate essays of contemporary artists. Thus whatever of genius, or -talents, or skill, or judgment, or industry, each man possessed, was -called forth into action by motives the most operative on the human -mind, whose power is known and confessed: and the consequence was the -rapid and unequalled improvement of the Arts. Improvement which still -astonishes, and which we are sometimes inclined to imagine the effort of -a superior race of beings to those with whom we converse: but which -arose from causes strong and cogent indeed, but natural, and without -difficulty discoverable. - -Something not unlike this happened at the revival of the arts in Europe, -and contributed materially to their advancement. For Italy, which was -their cradle, was then broken into a number of independent states, -mostly free, and rivalling each other in every praise of prowess and -policy. Hence, when the revival of the arts furnished a new source of -fame, it was pursued with avidity; and the various schools formed in its -different cities vied with each other for superiority, and by their -laudable rivalry promoted the progress of the arts with extraordinary -celerity. And though, perhaps, these schools, which soon became -distinguished by peculiar merits, may not finally have contributed to -the perfection of the arts, as leading their respective students rather -to pursue the attainment of that one distinct merit than to aim at the -acquisition of universal excellence; yet, at the close of the fifteenth -and in the sixteenth century, by their praiseworthy emulation and -vigorous exertions, they were singularly useful, and essentially tended -to the rapid improvement of the reviving arts. Their fame added much to -the splendor and reputation of the cities wherein they were settled, and -that circumstance proved a very perceptible incentive to invigorate -their talents and to animate their exertions; and so produced, though in -an inferior degree, not a little of that spirited labour, of that -enthusiastic devotion to their profession, which had aided so -considerably the progress of the arts in Greece. We say _in an inferior -degree_; because the Italian cities, though sensible of their worth, and -persuaded of their public utility, never bestowed on individual -professors such extraordinary marks of attention and reverence as the -Grecian states were in the habit of lavishing on their more illustrious -artists; and, consequently, the cause being lessened, the effect must -have been proportionably diminished. In truth this species of rivalry, -in which states or nations, however small, feel themselves interested, -has ever proved one of the strongest stimulatives that could be applied -to abilities; as it combines the patriotic affections of the worthy -citizen with the natural ambition of the artist, and alike operates on -some of the most powerful public and private springs of action. - -But the labour and pains, the study and industry early employed and long -continued, in the cultivation of the arts, naturally and necessarily -advanced their progress in a striking manner: raising them to such a -height of perfection as we weakly think unattainable, because we will -not use the adequate means of endeavouring to attain it. Labour is to -man, from his constitution and his frame, the real price of every truly -valuable acquisition; which, though indolence spurns and idleness -rejects, always brings its own reward with it, whether we are ultimately -successful or not, in the consciousness of having acted a manly part, -and in the vigour of mind and health of body which it, and it alone, -invariably confers. Some fortuitous instances may be mentioned of those -who have possessed both without its aid; of those who, nursed on the lap -of indolence, and folded in the arms of idleness, have enjoyed that -first of human blessings, a sound mind in a sound body: but they are -instances to astonish, not examples to incite. This is even more -strictly and peculiarly true as it regards the arts, than it is in -several other cases. For the great merit of painting and sculpture -consisting in their exact and captivating copies of nature, and of -architecture in its combination of beauty with grandeur, of convenience -with magnificence, it is obvious that these qualities are never the -casual effects of chance and accident, of lucky hits and fortunate -events; but the steady results of pains and care, of study and -attention. - -Of this truth the professors of the arts in Greece were quickly and -fully convinced; and applied that conviction to its only proper purpose, -to an unremitting labour on their own appropriate pursuit: a labour -which, paramount over each other object, neither pleasure prevented, nor -politics precluded, nor the calls of animal life hindered. To excel in -their art, to surpass their predecessors, to outstrip their -competitors, to be the conspicuous subject of Grecian admiration, were -the objects of their daily thoughts and of their nightly dreams: objects -which scarce for a moment retired from their view, or, if for a moment -retiring, it was only that they might recur again with renovated force. -The[l] _multa dies et multa litura_ which the Roman poet ascribes to the -Grecian writers, and to which he truly attributes their superior merit, -were still more eminently true of their artists; who applied to the -completion of their various works a severity of study and a perseverance -of labour that to us, habituated to very different manners indeed, seem -surprizing; but of which the authenticated accounts cannot be disputed. -As exalted character, not the mere making of money, was the aim to which -their thoughts were directed, it was pursued with that eagerness which -honest ambition ever creates: and though, incidentally, fortune -frequently followed their fame, as it came unsought for, none of its -degrading motives swayed their conduct. - -[Footnote l: Horatius.] - -It was not the idea of the[m] hundred talents which he received, great -as that sum was (for not one _drachma_ of it would he have received had -not his work been approved), that inspirited the genius of Phidias when -he was sculpturing the Olympian Jupiter; but the reflection that by his -skill the rude block was to be transformed into the representative -likeness of the father of gods and men, to be the admiration and -adoration of his enraptured countrymen: and hence profound study, -exquisite pains, and incessant labour, were employed to produce that -statue, which thence became afterwards the wonder of the world. Under -the impulse of such impressions must the Apollo Belvedere have come from -the hands of its unequalled sculptor: for though we know not the history -of that incomparable statue, yet its expression of dignity more than -human, its unforced graceful ease which nature can but faintly copy, its -perfect symmetry, and union of complete beauty with full bodily -strength, tell more than a thousand witnesses the pains, the study, and -the labour that must have been unremittingly exerted to produce it. - -[Footnote m: 19,375 l.] - -It would argue a silly prejudice, not a due sense of the merits of the -ancients, to attempt to insinuate that this labour and study, to which -we are inclined to attribute so much, was universal. No; for in Greece -then, as with ourselves now, there were among the artists (what in the -modern phrase we call) _fine gentlemen_: persons of too sublime a genius -to condescend to study, and of too delicate a frame to submit to labour. -The character of the species has been preserved, though the names of its -individuals have long, long since been forgotten. But they never -promoted the progress, never advanced the improvement of any art: but, -like their _amiable_ successors, followed a trade for support, and did -not cultivate a profession with dignity. But the persons of whom we -speak, as distinguished by these qualities, were those worthy citizens -who addicted themselves to no art without adorning and improving it; -whose names ennobled the age in which they lived; who then were never -mentioned without reverence, nor yet, at this far distant period, are -ever thought on without respect. By their studies and their labours, -vigorously and undeviatingly exerted, was the progress of the arts -promoted, their improvement accelerated, and their near approximation -to perfection effected: they thus experimentally proving the energetic -power of these valuable qualities, and leaving examples to fire the -emulation of the spirited and the active in each future age. - -In addition to the circumstances already mentioned, whose power and -efficiency on the progress of the arts we have endeavoured to point out, -there must be called to mind the great national encouragement which they -received in Greece, and the extraordinary influence which it must have -had on the warm imaginations of its gay and high-spirited inhabitants. -The desire of distinction and honour is a principle interwoven in the -constitution of our nature; and though, like most others we possess, it -is liable to perversion, is in itself not only blameless but laudable; -inciting the best exertions of talents where they are, and often -supplying their place where it finds them not. There are no countries, -however adverse the regent of the day may have yoked his horses from -them, where its operation is not more or less felt: and in exact -proportion to the civilization and mental improvement of each country, -its ascendency has ever been found to be high, its dominion to be great. -This is strictly true even with regard to the estimation of private -individuals: but the applause of a whole people has invariably been -deemed the most just meed of the most exceeding merit, ever since -nations have assumed a fixed and stable form. Now this applause formed -an important part of the great national rewards by which Greece fostered -the arts; and it was a part that peculiarly came home both to the -business and bosoms of each worthy citizen, and caused every pulse of a -Grecian heart to vibrate to its impression. Their characteristic -fondness of fame is known and acknowledged; but this applause, though by -them in itself extravagantly valued, was not a mere empty, flattering -sound: for, from the constitutions prevailing in nearly every state of -Greece, it was the sure conductor to domestic dignity, to political -power, and to commanding sway in the public deliberations. The first -offices of the state, and the prime trusts of the government, were open -to that distinguished artist whose admired performances had secured the -universal suffrage. They were often without seeking offered by popular -gratitude to his acceptance; nay, sometimes with honest violence forced -on his unwilling reception. Thus the principles of interest, ambition, -popularity, confessedly some of the most powerful that guide the conduct -of mankind, were called forth in aid of that natural bent or disposition -which had induced the man to cultivate any particular art: and the -consequence was such as might be expected from the efficiency of such -operative motives, surpassing merit and supreme excellence. - -Another species of national encouragement, nearly connected with this, -was the certainty which the eminent artist enjoyed that, whenever the -occasion offered, his talents would be employed to erect, or to decorate -with the labours of his pencil or his chissel, the temples, the -theatres, the porticoes, the places of public assembling of the cities -of Greece; where his works, contributing amply to his fortune from their -munificent reward, would contribute more to his fame when exposed to the -scrutinizing view of that intelligent people. He had no cause to fear -that his abilities would be overlooked or buried in obscurity by -prepossession, partiality, or prejudice: he had no apprehensions to -dread from the effects of interested relationship, of commanding -influence, of narrow local attachment, or of proud and presuming -ignorance. If his merit was acknowledged his employment was sure; and he -was even courted by the general voice to exert his talents for the -public credit, not depressed in their exertion by mean and base -affections. He was not obliged to solicit for employment with -humiliating applications, and, when employed, to labour under the -multiplied disadvantages of deficient or stinted means, of complying -with vitiated judgments, of submitting to the senseless whims of folly -and caprice. Full scope was given to the fertility of his imagination, -to the extent of his genius, to the vigour of his fancy: whilst all the -powers of his mind and all the vigour of his body, all the ingenuity of -his head and all the dexterity of his hands, were impelled to their best -performances by the consciousness that all deficiencies would be -imputable solely to himself, the public being free from the slightest -suspicion of having either curbed or confined his abilities. As no -elevation of genius made him giddy, hence grace and beauty, strength and -vigour, expression and passion, respectively marked his performances; -and his fame became connected with the edifices, the statues, the -paintings, that ornamented the country, which struck every eye, and -which none beheld without recollecting with respect the able artist -whose workmanship had produced them. - -The effect of this kind of encouragement on the arts was great, is -manifest, and need be but slightly mentioned: yet, perhaps, may appear -the more striking from contrasting it with some practices of more modern -times. In them the first city in the world has disgraced itself with -all who have eyesight, by employing to erect its most expensive -building[n] an architect _because the man was a citizen_: and, in more -countries of Europe than one, statues and paintings are exhibited as -commemorative of illustrious public deeds, where contorsion and -extravagance, where flutter and glare, form the predominant characters; -but they dishonour those countries, on account of the artists engaged to -execute them being employed because they were the favourites of despots, -the flatterers of titled harlots, or the relations of directors; whilst -men of the first talents and merit in their profession were pining in -indigence and obscurity, unnoticed and unfriended. The consequences of -this latter conduct none will say that we have reason to boast of from -the superlative excellence of modern art; but what has been felt from it -may readily induce us to believe how essentially its direct opposite -must have promoted the progress of the arts in Greece. - -[Footnote n: The Mansion House of London.] - -The vast sums expended by the Grecian states on their public monuments -and their public works (vast, indeed, when the comparative value of -money then and now is considered), tended much to assist the progress of -the arts, and to aid their high improvement. For, though we have -unquestionable reason to believe that the sordid motive of private -profit was not the first principle in the minds of those great artists -who have immortalized their names by their works, yet without a certain -liberality of expence their ideas could not have been realized, their -works could not have been executed; and that liberality they found -limited commonly by nothing but the public means, and often not even by -them. We know from the gravest and clearest authorities with what lavish -expenditure scenic representations were exhibited at Athens, with what -unbounded magnificence her temples, her tribunals, her porticoes were -decorated: we equally well know the splendor of Corinth, a near -neighbouring city; the incalculable price of its paintings, the -inestimable value of its statues, and that from the coalesced mass of -its molten metals there arose, at its destruction, a compound more -highly prized by the Romans than gold. The other principal cities were -alike studious of embellishment, alike emulous of ornament, and in -various proportions enjoyed them according to the circumstances of time -and situation: but Delphi and Olympia, the grand seats of the national -religion and the national games, concentered in themselves each choicest -production of genius, each happiest effort of art, each transcendent -display of excellence; amassed with a judgment that delighted, with a -profusion that surprized, and with an expence that astonished. - -This generous spirit in carrying on and completing public works which, -though it may sometimes be pushed to an excess (as, perhaps, was the -case in Greece), is so truly honourable to any people, had, and -obviously must have had, the most decided influence in advancing and -improving the arts, and in giving them that degree of perfection which -has never yet been exceeded, nor even equalled. It excited exertion, by -the security that its efforts would not be suffered to remain -undisplayed, but would be invited to add loveliness to the beautiful, -and splendor to the magnificent; it roused the full force of emulation, -by the certainty that superior merit would receive superior rewards, and -neither be permitted to languish in privacy nor to pine in poverty; and -it invigorated the boldest flights of genius, by the firm assurance that -there was a prevalent spirit ready to countenance, prepared to adopt, -and anxious to encourage them. It would be no small absurdity to affirm -that fortune, as well as fame, had not attractions for a Grecian artist; -for it must ever be absurd to affirm generally the absence of the -operation of general principles: and therefore the great pecuniary -recompences which their talents procured had, doubtless, a proportionate -influence on all their labours to improve their art; though, it may be, -less in that region than in many other countries. And from the combined -efficacy of these several kinds of national encouragement, which, like -different branches of the same tree, spring all from the same root, the -progress of the arts was furthered so essentially, was advanced so -highly, as we have heard of with wonder, and have seen with amazement. - -So complex having been the causes, so slow and progressively gradual the -progress of the Fine Arts, highly grateful must it be to every truly -British breast to consider the rapid advances they have made in this -favoured Isle within the last fifty years: advances certainly unmatched -in their former history, as in that period they have arisen from the -utmost imbecility of infantine weakness (indeed almost from -_non-entity_) to a vigorous maturity that leaves far behind them the -emasculate efforts and puny productions of all other contemporary -European nations. The causes of this unequalled improvement have -notoriously been the countenance and fostering protection of his present -Majesty, an admirer and intelligent judge of their merit, and the -ardent spirit of emulation excited among the artists themselves by such -exalted and distinguishing notice. These co-operating have produced an -exertion of talents, a display of abilities, and emanations of genius -that always wore in existence, but which required concurring -circumstances to bring them into full action, and to cause them to -expand their latent energies. And had the general patronage been -correspondent to these fortunate incidents, had not the fashionable -jargon of presumptuous, self-created, arbiters of taste, affecting to -despise National art, vitiated the public mind, or rather strengthened -an ancient prejudice there floating, it is not easy to conceive how much -greater still would have been their progress. It is at least certain -that our ingenious young artists would have been amply encouraged to -exert themselves, and not suffered, after the most promising exhibitions -of dawning talents, to pine in indigence and wretchedness, to sink into -obscurity and oblivion, or (like the illfated, but most meritorious -Proctor[o]) to hasten, in the very opening of life, the termination of -mortal existence from the excruciating pressure of continued penury and -misery. - -[Footnote o: The fate of this ingenious youth deserves to be distinctly -recorded. Born of humble parentage in one of the more distant counties, -he had early manifested an admiration of the Arts, and, being admitted a -student of the Royal Academy, eminently distinguished himself there by -his abilities and his industry. Applying peculiarly to Sculpture, soon -after the termination of his studies in the Academy he exhibited, at its -annual Exhibition in Somerset-place, two models of unrivalled -excellence, which might, without fear of deterioration, have been placed -in competition with the happiest productions of the best days of Grecian -art, and which at the time met with their well-earned applause. But, -alas! applause was his only reward: no wealthy patron took him by the -hand, no affluent lover of the Arts enquired into, or assisted, his -circumstances; and his means being very confined, misery was his -portion. He had however the soul of an Artist, and for a length of time -bore up with manly fortitude against his distresses. The present worthy -President of the Royal Academy, suspecting his situation, with the aid -of the Council obtained for him from the Academy an annuity of 100l. a -year, to enable him to go to Italy, and improve himself there: but the -unhappy youth had unavoidably contracted some trifling debts, which he -was utterly unable to discharge, and his mind was too delicately alive -to every finer feeling to bear the thought of leaving this country -without paying them. This circumstance, preying on his agitated spirits, -and on a frame emaciated by the severest distress, caused his speedy -dissolution, to the irreparable injury of the Arts. After his death it -was discovered that, for the last two years of his life, he had resided -in a miserable cock-loft in the worst house in Clare market, which he -had rented for a shilling a week; and that his daily sustenance for that -time had been _only two dry biscuits with a draft of water from the -market pump_.] - -Thus having attempted to investigate the progress of the arts, and to -what was owing that supreme excellence which they formerly attained, we -seem to have reasonable grounds to conclude that it flowed from such -natural and moral causes as, at all times and in all cases, are known -powerfully to affect the feelings and to actuate the conduct of man. No -whimsical refinements, no marvellous mysteries, no imaginary and -fantastic theories have been had recourse to: but lighted on our way by -the irradiating torch of authentic history, and unseduced by the false -glare of lying legends, we have not dared so much to affirm what, in -certain situations, our fellow-creatures MUST do, as to detail with some -care what in fact they DID do. If what we have here advanced has not -the attraction of novelty to allure, it is hoped that it is not -deficient in the recommendation of truth to convince. It has not been -thought necessary formally to refute the sentiments of those profound -Philosophers, who have sagaciously discovered the causes of the -inferiority of the arts in some countries and of their superiority in -others, and consequently the perfection to which they arrived in Greece, -in the power of the solar beams in certain latitudes, in the influences -of the atmosphere, and in those of terrestrial and celestial vapours: -for if the causes here assigned appear fully adequate to the end -produced, as we conceive they do, it must be idle to shew the inutility -of others, gratuitously brought forth from the inexhaustible storehouse -of fancy, and supported by any thing rather than solid reasoning. It -must be allowed that they very roundly assert, but as fallaciously -argue, whenever they deign to argue on this subject: for mere -assertions, positive, pompous, presuming, but assertions still, are the -commonest weapons of their warfare. And, possibly, it would neither be -reputable to contest the specious subtilty of the sophisms of even such -sages, nor honourable to conquer the powerless imbecility of their -assertions. - -It is but fair to avow that this enquiry into the progress of the arts -has not been entered on for the sole purpose of ascertaining, as far as -we were able, the causes of the surpassing excellence to which they were -carried in Greece, without at the same time intimating, with due -deference to superior judgments and to superior authority, the efficacy -of the same causes, at all times and in all countries, in improving and -exalting them. As human nature is the same at all periods, though -diversified in its exterior shew by the various customs, modes, and -manners, that variously prevail, it cannot be seriously doubted but that -those principles, which have been found by experience in one country to -powerfully sway its conduct, and to incite its efforts in the Arts to -their noblest productions, would be equally efficient and equally -successful elsewhere, were they fairly applied, and as vigorously -exerted. We have no satisfactory reason for believing that either the -mental or corporeal powers of man have degenerated in the succession of -ages: and we well know that, by the benefits of experience and -invention, considerable aids have been added to both, to methodize their -motions and to facilitate their operations. Our profounder and -better-studied knowledge of Metaphysics, our improved skill in Natural -Philosophy and Mechanics, and our more accurate acquaintance with the -principles of colours, with their combinations and their shades, all -confessedly tend to these points. Should then the same liberal public -encouragement be displayed, by those possessed of the power of -displaying it, as dignified the best days of Greece; should the same -labour, the same pains, the same study, the same industry, be used by -modern artists as distinguished their truly illustrious predecessors; we -might not vainly hope to see the arts carried to still greater -perfection than they have ever yet attained; we might expect to behold -their deficiencies supplied, their utilities increased, their energies -enlarged, and their beauties augmented. - -On national encouragement it becomes not the mediocrity of our talents -and station to presume to decide; yet, possibly, it will not be judged -too vauntingly confident to say that it should in all cases be spirited, -generous, impartial, and should not be subjected to the caprices of -power, to the varying humours of the transient depositaries of the -public confidence, nor to the inconstant and ever-mutable gusts of -popular phrenzy. What effect such encouragement would have on the -artists themselves can, indeed, be only conjectured; for such -encouragement has never yet been exhibited in the modern world: but that -conjecture is neither vague nor random, as it is guided by permanent -principles, and directed by the known influence of steady affections on -the human heart. It may be affirmed then, with some assurance, that it -would inspirit their labours, that it would multiply their pains, that -it would invigorate their studies, that it would augment their industry: -for such were heretofore its experienced consequences in similar cases, -and therefore they are reasonably to be expected again. They would not -waste their youth in the riot of lawless pleasure, and so treasure up -sickness and sorrow for the days of their prime: they would not spend -their hours in the ceaseless pursuit of the intoxicating amusements of -some great capital: they would not lay out their whole attention on the -low and subordinate, but gainful, branches of their _trade_, in contempt -of the superior features of their ART, and of its possible improvement: -but concentring all their powers, all their abilities, all their -faculties, in the advancement of their peculiar pursuit, would rapidly -raise themselves from the drudgery of mechanical workmanship to the -proud elevation of professional exertion. Thus the arts, advanced by so -conspicuous a change of manners in their cultivators, and by an -encouragement differing so widely from the paltry private patronage -pretending to that name, would attain that state of perfection to which -their admirers fondly wish to see them carried; but which they must wish -in vain till something like the changes here etched out shall have taken -place. And that what depends on the artists has not been too sanguinely -supposed, nor too strongly pictured, will surely not be asserted: for it -has only been supposed that they are men of common sense and natural -feelings; that they are not insensible to the allurements of each -dignified distinction in life; that they have hearts that can be warmed -and minds that can be roused. - -That much higher ideas might justly be formed of some artists we can -positively affirm from personal knowledge; as we know some who have -really the souls of Artists; who, even in present circumstances, instead -of grovelling all their lives in mean and sordid occupations, -adventurously dare to soar into the immense void of possible -excellence; and whose characters it would be highly grateful to portray, -were not the desire restrained by the consciousness of inability to do -justice to their merits. Such men, indeed, by the vigour of their -genius, counteract the disadvantages to which they may be exposed, and, -bursting the barriers of opposing obstacles with spirit all their own, -impart to the arts whatever of addition or improvement they receive; -elucidating their obscurities, polishing their asperities, and lopping -their luxuriancies: and their number might be increased to any given -amount. But until that halcyon period shall arrive, if it ever shall -arrive, when the arts shall be considered as real national objects, and -receive _real_ national encouragement (without which, it must be -confessed, all extraordinary progress in them is not _generally_ to be -expected), their beauty, their grace, their grandeur, depend on these -men alone. And conscious of the high ground whereon they stand, as the -champions of truth and nature against fashion and futility, and caprice -and extravagance, and of the possible benefits resulting from their -labours in giving passion to the mute canvas, expression to the -inanimate block, and magnificence to utility in each public edifice; -they will not suffer themselves to be discouraged by temporary neglect, -nor to be disheartened by temporary preferences of the incapable and -undeserving. They will strengthen their minds to encounter the provoking -criticisms of pert and petulant presumption; they will scorn the -contempts of self-conceited and ignorant folly, however highly seated; -and they will meet with firm dignity the misjudging decisions of -purse-proud affluence. And conscious worth shall crown them with a -wreath of honour, greener than ever bloomed on the brow of an Olympic -conqueror; their own hearts shall applaud them; their works shall form a -lasting monument to the immortality of their names; and their fame shall -float down the current of future ages with daily increasing strength, -with daily augmented splendor. - -The final result then of our enquiry on this amusing and interesting -subject is, that we have the best grounds for concluding the progress of -the arts originally, and the great perfection to which they were carried -in Greece, to have arisen from natural and moral causes of confessed -efficacy, and not from any casual circumstances, extraneous to and -independent of man: and we deem it reasonable to think that the same -causes, operating as uncontroledly any where else within the extent of -the temperate climates, would most probably again produce the same -effects. Far from indulging any licence of imagination, or from giving -wing to its flights, it has been endeavoured rather carefully to detail -facts than wantonly to invent systems. Of the evidence, which to us has -appeared convincing, the public will judge: of the rectitude of our -intention in producing it we are sure, for it is only to incite public -reward, to encourage study, and labour, and industry. - - - - - William Andrews Clark Memorial Library: University of California - THE AUGUSTAN REPRINT SOCIETY - - - _General Editors_ - - R. C. BOYS - University of Michigan - - VINTON A. DEARING - University of California, Los Angeles - - RALPH COHEN - University of California, Los Angeles - - LAWRENCE CLARK POWELL - Wm. Andrews Clark Memorial Library - - - _Corresponding Secretary_: Mrs. EDNA C. DAVIS, - Wm. Andrews Clark Memorial Library - -The Society exists to make available inexpensive reprints (usually -facsimile reproductions) of rare seventeenth and eighteenth century -works. The editorial policy of the Society remains unchanged. As in the -past, the editors welcome suggestions concerning publications. All -income of the Society is devoted to defraying cost of publication and -mailing. - -All correspondence concerning subscriptions in the United States and -Canada should be addressed to the William Andrews Clark Memorial -Library, 2205 West Adams Boulevard, Los Angeles 18, California. -Correspondence concerning editorial matters may be addressed to any of -the general editors. The membership fee is $3.00 a year for subscribers -in the United States and Canada and 15/- for subscribers in Great -Britain and Europe. British and European subscribers should address B. -H. Blackwell, Broad Street, Oxford, England. - - * * * * * - - Publications for the eighth year [1953-1954] - (At least six items, most of them from the following list, will be - reprinted.) - - JOHN BAILLIE: _An Essay on the Sublime_ (1747). Introduction by - Samuel H. Monk. - - Contemporaries of the _Tatler_ and _Spectator_. Introduction by - Richmond P. Bond. - - _John Dart and George Ogle on Chaucer._ Introduction by William L. - Alderson. - - JOHN T. DESAGULIERS: _The Newtonian System of the World the Best - Model of Government_ (1728). Introduction by Marjorie H. Nicolson. - - _Sale Catalogue of Mrs. Piozzi's Effects_ (1816). Introduction by - John Butt. - - M. C. SARBIEWSKI: _The Odes of Casimire_ (1646). Introduction by - Maren-Sofie Roestvig. - - _Selections from Seventeenth-Century Songs._ Introduction by - Jennifer W. Angel. - - _A Sermon Preached at the Cathedral Church of St. Paul_ (1745). - [Probably by Samuel Johnson]. Introduction by James L. Clifford. - -Publications for the first seven years (with the exception of Nos. 1-6, -which are out of print) are available at the rate of $3.00 a year. -Prices for individual numbers may be obtained by writing to the Society. - - * * * * * - - THE AUGUSTAN REPRINT SOCIETY - _WILLIAM ANDREWS CLARK MEMORIAL LIBRARY_ - 2205 WEST ADAMS BOULEVARD, LOS ANGELES 18, CALIFORNIA - - Make check or money order payable to - THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. - - - - - PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY - - -FIRST YEAR (1946-1947) - - Numbers 1-6 out of print. - - -SECOND YEAR (1947-1948) - - 7. John Gay's _The Present State of Wit_ (1711); and a section on - Wit from _The English Theophrastus_ (1702). - - 8. Rapin's _De Carmine Pastorali_, translated by Creech (1684). - - 9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736). - - 10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit, - etc._ (1744). - - 11. Thomas Purney's _Discourse on the Pastoral_ (1717). - - 12. Essays on the Stage, selected, with an Introduction by Joseph - Wood Krutch. - - -THIRD YEAR (1948-1949) - - 13. Sir John Falstaff (pseud.), _The Theatre_ (1720). - - 14. Edward Moore's _The Gamester_ (1753). - - 15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_ - (1712); and Arthur Mainwaring's _The British Academy_ (1712). - - 16. Nevil Payne's _Fatal Jealousy_ (1673). - - 17. Nicholas Rowe's _Some Account of the Life of Mr. William - Shakespeare_ (1709). - - 18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 - (1719); and Aaron Hill's Preface to _The Creation_ (1720). - - -FOURTH YEAR (1949-1950) - - 19. Susanna Centlivre's _The Busie Body_ (1709). - - 20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734). - - 21. _Critical Remarks on Sir Charles Grandison, Clarissa, and - Pamela_ (1754). - - 22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two - _Rambler_ papers (1750). - - 23. John Dryden's _His Majesties Declaration Defended_ (1681). - - 24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which - from Settled Principles is Rendered the Grounds for Choosing and - Rejecting Epigrams_, translated by J. V. Cunningham. - - -FIFTH YEAR (1950-1951) - - 25. Thomas Baker's _The Fine Lady's Airs_ (1709). - - 26. Charles Macklin's _The Man of the World_ (1792). - - 27. Frances Reynolds' _An Enquiry Concerning the Principles of - Taste, and of the Origin of Our Ideas of Beauty, etc._ (1785). - - 28. John Evelyn's _An Apologie for the Royal Party_ (1659); and _A - Panegyric to Charles the Second_ (1661). - - 29. Daniel Defoe's _A Vindication of the Press_ (1718). - - 30. Essays on Taste from John Gilbert Cooper's _Letters Concerning - Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_ - (1770). - - -SIXTH YEAR (1951-1952) - - 31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751); - and _The Eton College Manuscript_. - - 32. Prefaces to Fiction; Georges de Scudéry's Preface to _Ibrahim_ - (1674), etc. - - 33. Henry Gally's _A Critical Essay_ on Characteristic-Writings - (1725). - - 34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson - (1785). - - 35. James Boswell, Andrew Erskine, and George Dempster. _Critical - Strictures on the New Tragedy of Elvira, Written by Mr. David - Malloch_ (1763). - - 36. Joseph Harris's _The City Bride_ (1696). - - -SEVENTH YEAR (1952-1953) - - 37. Thomas Morrison's _A Pindarick Ode on Painting_ (1767). - - 38. John Phillips' _A Satyr Against Hypocrites_ (1655). - - 39. Thomas Warton's _A History of English Poetry_. - - 40. Edward Bysshe's _The Art of English Poetry_ (1708). - - 41. Bernard Mandeville's "_A Letter to Dion_" (1732). - - 42. Prefaces to Four Seventeenth-Century Romances. - - - - - * * * * * - - - - -Transcriber's note: - -Variations in spelling, punctuation and hyphenation have been retained -except in obvious cases of typographical error: - - "... joined increased (conveniencies->) conveniences" - "... which nothing imperfect (eould->) would please," - -Footnotes interrupting paragraphs have been moved to the end of -the respective paragraphs. - - - -***END OF THE PROJECT GUTENBERG EBOOK DISSERTATION ON THE PROGRESS OF THE -FINE ARTS*** - - -******* This file should be named 42371-8.txt or 42371-8.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/2/3/7/42371 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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