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Following these rules； and using these precautions； when you have
clearly and distinctly learned in what good colouring consists； you cannot
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do better than have recourse to nature herself； who is always at hand； and
in comparison of whose true splendour the best coloured pictures are but
faint and feeble。
However； as the practice of copying is not entirely to be excluded；
since the mechanical practice of painting is learned in some measure by it；
let those choice parts only be selected which have recommended the work
to notice。 If its excellence consists in its general effect； it would be
proper to make slight sketches of the machinery and general management
of the picture。 Those sketches should be kept always by you for the
regulation of your style。 Instead of copying the touches of those great
masters； copy only their conceptions。 Instead of treading in their
footsteps； endeavour only to keep the same road。 Labour to invent on
their general principles and way of thinking。 Possess yourself with their
spirit。 Consider with yourself how a Michael Angelo or a Raffaelle
would have treated this subject： and work yourself into a belief that your
picture is to be seen and criticised by them when completed。 Even an
attempt of this kind will rouse your powers。
But as mere enthusiasm will carry you but a little way； let me
recommend a practice that may be equivalent； and will perhaps more
efficaciously contribute to your advancement； than even the verbal
corrections of those masters themselves； could they be obtained。 What I
would propose is； that you should enter into a kind of competition； by
painting a similar subject； and making a companion to any picture that you
consider as a model。 After you have finished your work； place it near the
model； and compare them carefully together。 You will then not only see；
but feel your own deficiencies more sensibly than by precepts； or any
other means of instruction。 The true principles of painting will mingle
with your thoughts。 Ideas thus fixed by sensible objects； will be certain
and definitive； and sinking deep into the mind； will not only be more just；
but more lasting than those presented to you by precepts only： which
will； always be fleeting； variable； and undetermined。
This method of comparing your own efforts with those of some great
master； is indeed a severe and mortifying task； to which none will submit；
but such as have great views； with fortitude sufficient to forego the
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gratifications of present vanity for future honour。 When the student has
succeeded in some measure to his own satisfaction； and has felicitated
himself on his success； to go voluntarily to a tribunal where he knows his
vanity must be humbled； and all self…approbation must vanish； requires not
only great resolution； but great humility。 To him； however； who has the
Ambition to be a real master； the solid satisfaction which proceeds from a
consciousness of his advancement （of which seeing his own faults is the
first step） will very abundantly compensate for the mortification of present
disappointment。 There is； besides； this alleviating circumstance。 Every
discovery he makes； every acquisition of knowledge he attains； seems to
proceed from his own sagacity； and thus he acquires a confidence in
himself sufficient to keep up the resolution of perseverance。
We all must have experienced how lazily； and consequently how
ineffectually； instruction is received when forced upon the mind by others。
Few have been taught to any purpose who have not been their own
teachers。 We prefer those instructions which we have given ourselves；
from our affection to the instructor； and they are more effectual； from
being received into the mind at the very time when it is most open and
eager to receive them。
With respect to the pictures that you are to choose for your models； I
could wish that you would take the world's opinion rather than your own。
In other words； I would have you choose those of established reputation
rather than follow your own fancy。 If you should not admire them at first；
you will； by endeavouring to imitate them； find that the world has not been
mistaken。
It is not an easy task to point out those various excellences for your
imitation which he distributed amongst the various schools。 An endeavour
to do this may perhaps be the subject of some future discourse。 I will；
therefore； at present only recommend a model for style in painting； which
is a branch of the art more immediately necessary to the young student。
Style in painting is the same as in writing； a power over materials； whether
words or colours； by which conceptions or sentiments are conveyed。
And in this Lodovico Carrache （I mean in his best works） appears to me to
approach the nearest to perfection。 His unaffected breadth of light and
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shadow； the simplicity of colouring； which holding its proper rank； does
not draw aside the least part of the attention from the subject； and the
solemn effect of that twilight which seems diffused over his pictures；
appear to me to correspond with grave and dignified subjects； better than
the more artificial brilliancy of sunshine which enlightens the pictures of
Titian。 Though Tintoret thought that Titian's colouring was the model of
perfection； and would correspond even with the sublime of Michael
Angelo； and that if Angelo had coloured like Titian； or Titian designed like
Angelo； the world would once have had a perfect painter。
It is our misfortune； however； that those works of Carrache which I
would recommend to the student are not often found out of Bologna。 The
〃St。 Francis in the midst of his Friar