Table-Talk, Essays on Men and Manners [80]
who had discovered a silver or a lead mine on his estate to close it up, or the common farmer to plough up every acre he rents in the hope of discovering hidden treasure, as advise the man of original genius to neglect his particular vein for the study of rules and the imitation of others, or try to persuade the man of no strong natural powers that he can supply their deficiency by laborious application. Sir Joshua soon after, in the Third Discourse, alluding to the terms, _inspiration, genius, gusto,_ applied by critics and orators to painting, proceeds:
'Such is the warmth with which both the Ancients and Moderns speak of this divine principle of the art; but, as I have formerly observed, enthusiastic admiration seldom promotes knowledge. Though a student by such praise may have his attention roused and a desire excited of running in this great career, yet it is possible that what has been said to excite may only serve to deter him. He examines his own mind, and perceives there nothing of that divine inspiration with which, he is told, so many others have been favoured. He never travelled to heaven to gather new ideas; and he finds himself possessed of no other qualifications than what mere common observation and a plain understanding can confer. Thus he becomes gloomy amidst the splendour of figurative declamation, and thinks it hopeless to pursue an object which he supposes out of the reach of human industry.'
Yet presently after he adds:
'It is not easy to define in what this great style consists; nor to describe by words the proper means of acquiring it, _if the mind of the student should be at all capable of such an acquisition._ Could we teach taste or genius by rules, they would be no longer taste and genius.'
Here, then, Sir Joshua admits that it is a question whether the student is likely _to be at all capable of such an acquisition_ as the higher excellencies of art, though he had said in the passage just quoted above that it is within the reach of constant assiduity and of a disposition eagerly directed to the object of its pursuit to effect all that is usually considered as the result of natural powers. Is the theory which our author means to inculcate a mere delusion, a mere arbitrary assumption? At one moment Sir Joshua attributes the hopelessness of the student to attain perfection to the discouraging influence of certain figurative and overstrained expressions, and in the next doubts his capacity for such an acquisition under any circumstances. Would he have him hope against hope, then? If he 'examines his own mind and finds nothing there of that divine inspiration with which he is told so many others have been favoured,' but which he has never felt himself; if 'he finds himself possessed of no other qualifications' for the highest efforts of genius and imagination 'than what mere common observation and a plain understanding can confer,' be may as well desist at once from 'ascending the brightest heaven of invention':--if the very idea of the divinity of art deters instead of animating him, if the enthusiasm with which others speak of it damps the flame in his own breast, he had better not enter into a competition where he wants the first principle of success, the daring to aspire and the hope to excel. He may be assured he is not the man. Sir Joshua himself was not struck at first by the sight of the masterpieces of the great style of art, and he seems unconsciously to have adopted this theory to show that he might still have succeeded in it but for want of due application. His hypothesis goes to this--to make the common run of his readers fancy they can do all that can be done by genius, and to make the mail of genius believe he can only do what is to be done by mechanical rules and systematic industry. This is not a very feasible scheme; nor is Sir Joshua sufficiently clear and explicit in his reasoning in support of it.
In speaking of Carlo Maratti, he confesses the inefficiency of this doctrine in a very remarkable manner:--
'Carlo Maratti succeeded better than those
'Such is the warmth with which both the Ancients and Moderns speak of this divine principle of the art; but, as I have formerly observed, enthusiastic admiration seldom promotes knowledge. Though a student by such praise may have his attention roused and a desire excited of running in this great career, yet it is possible that what has been said to excite may only serve to deter him. He examines his own mind, and perceives there nothing of that divine inspiration with which, he is told, so many others have been favoured. He never travelled to heaven to gather new ideas; and he finds himself possessed of no other qualifications than what mere common observation and a plain understanding can confer. Thus he becomes gloomy amidst the splendour of figurative declamation, and thinks it hopeless to pursue an object which he supposes out of the reach of human industry.'
Yet presently after he adds:
'It is not easy to define in what this great style consists; nor to describe by words the proper means of acquiring it, _if the mind of the student should be at all capable of such an acquisition._ Could we teach taste or genius by rules, they would be no longer taste and genius.'
Here, then, Sir Joshua admits that it is a question whether the student is likely _to be at all capable of such an acquisition_ as the higher excellencies of art, though he had said in the passage just quoted above that it is within the reach of constant assiduity and of a disposition eagerly directed to the object of its pursuit to effect all that is usually considered as the result of natural powers. Is the theory which our author means to inculcate a mere delusion, a mere arbitrary assumption? At one moment Sir Joshua attributes the hopelessness of the student to attain perfection to the discouraging influence of certain figurative and overstrained expressions, and in the next doubts his capacity for such an acquisition under any circumstances. Would he have him hope against hope, then? If he 'examines his own mind and finds nothing there of that divine inspiration with which he is told so many others have been favoured,' but which he has never felt himself; if 'he finds himself possessed of no other qualifications' for the highest efforts of genius and imagination 'than what mere common observation and a plain understanding can confer,' be may as well desist at once from 'ascending the brightest heaven of invention':--if the very idea of the divinity of art deters instead of animating him, if the enthusiasm with which others speak of it damps the flame in his own breast, he had better not enter into a competition where he wants the first principle of success, the daring to aspire and the hope to excel. He may be assured he is not the man. Sir Joshua himself was not struck at first by the sight of the masterpieces of the great style of art, and he seems unconsciously to have adopted this theory to show that he might still have succeeded in it but for want of due application. His hypothesis goes to this--to make the common run of his readers fancy they can do all that can be done by genius, and to make the mail of genius believe he can only do what is to be done by mechanical rules and systematic industry. This is not a very feasible scheme; nor is Sir Joshua sufficiently clear and explicit in his reasoning in support of it.
In speaking of Carlo Maratti, he confesses the inefficiency of this doctrine in a very remarkable manner:--
'Carlo Maratti succeeded better than those