PLYMOUTH INSTITUTION. 169 



are : he also explained what effect different conditions of the solid 

 would produce on the sound, and made some observations on the 

 means of determining on what different sounds depend. 



The Lecture was concluded by an explanation of the Anatomy of 

 the ear. Dr. Budd had with him engravings of some of its parts, 

 magnified; as well as anatomical preparations, to elucidate his 

 remarks. 



FEBRUARY, 20th. Mr. NORMAN, On the Fine Arts. 

 The subject of this Lecture was an Analysis of the character of 

 Sir Joshua Reynolds as a Painter, an endeavour to ascertain in what 

 rank he ought to stand in the Republic of Art, and in what relation 

 to other eminent Painters since the revival of the Arts in Italy ; 

 but he previously made some observations as to the intention and 

 object of the Art of Painting, deeming them essential to the immedi- 

 ate purpose of the Lecture. A picture which exhibits the utmost 

 perfection of mechanical truth, if it possess no more, is not a speci- 

 men of " Fine Art. " The charm of a Picture that which interests 

 and delights an intellectual and educated mind, arises more from 

 mental and speculative, than from mechanical truth. Mechanical 

 excellence, nevertheless, is essential to perfection in the Fine Arts. 

 Although Art has made great advances in England since Sir Joshua 

 Reynolds first distinguished himself as a Painter, yet even now the 

 popular notions which prevail about Art and Artists are either posi- 

 tively false or altogether vague and indefinite. By far the most nu- 

 merous class of those who pass their judgment on pictures, judge 

 of them as they would judge of a piece of mechanism dexterity of 

 handling and mechanical resemblance are with them the test of ex- 

 cellence, and all the mental subtleties, which to the intellectual and 

 sensitive eye constitute the charm of the work, are to them unknown. 

 Sir Joshua Reynolds seems to have thought lightly of natural talent, 

 and to have attributed his own success entirely to well-directed in- 

 dustry; and his biographer, Mr. Farrington, ascribes it to education, 

 encouragement and practice ; but Sir Joshua possessed by nature a 

 mind gifted with powers and faculties to constitute a great Painter, 

 and it was not in consequence of early advantages, but in spite of 

 manifold disadvantages that he did become a great Painter. 



The Lecturer then proceeded to compare Sir Joshua Reynolds 

 with other eminent Painters who have preceded him since the revival 

 of the Arts in Italy. Notwithstanding the name of Michael Angelo 

 was always greatest among painters with Sir Joshua, there seems 

 hardly anything in common between them. The characteristics of 

 VOL. in. 1834. z 



