On Painting, 92f 



improving our taRe, particularly in fuch things as are con- 

 ne<j'led with decoration. 



Though we recommend learning to draw thus general!)', 

 we muft fay it requires the utmoft caution in the choice of a 

 mafter; for, fhould his abihties he confined, or his talk de- 

 praved, there is great danger of the poifon being conveyed 

 to the pupil : and if, in the end, his better underftanding rife 

 fuperior to the evil, he will, unfortunately, have rnuch to 

 unlearn. Above all, if he be arrived at an age to difcrimi- 

 nate, objects worthy attention fhould be fet as examples of 

 imitation ; he (hould not be amufcd and his time wafted with 

 gew-gaws and trafii beneath the dignity and attention of 

 rational beings. 



Every one is acquainted with the progrefs of w-hat may 

 be termed common or fchool education. The mafters begin 

 teaching the letters, and then proceed to fyllables, which 

 are joined into fentences : but the ultimate end is, com- 

 pofiiig themes to call forth the power of invention, and 

 convey a more exquifite idea of the language. Exactly 

 fo fhould be the progrefs in teaching drawing. If the know- 

 ledge to be obtained be the human figure, wc begin with 

 parts ; as eyes, nofes, heads, hands, &c., which is the ABC. 

 This, of c'ourfe, leads to the whole figure, which may be 

 compared tofpelling; that naturally condu6ts to the round, 

 or drawing from plalfter cafts ; then from the life; and ulti- 

 mately to compofuiou. Should landfcape be the purfuit, the 

 progrefs is precifelv the fame. We begin with parts or fingle 

 objedls ; as trees, bridges, cottages, catties, &c. Here again 

 is the alphabet. This we too quit to copy wholes, or a 

 combination of obje6ls ; and in the end we apply to nature, 

 which fcts us free from our mafter. Then we muft improve 

 by our own aftivity; and, like the bee, cull the honey from 

 every flower. As much of our fuccefs depends on the abili- 

 ties of the mafter, the greateft care (liould be obferved in the 

 choice. F^e is but as a crutch to the lame ; but wc ought 

 to make ouifelves fure it is found, and without Haw or (lioke; 

 that is, as far as our judgment will permit, or the opinion of 

 friends dirert. 



Me who afpires to a knowledge in the fine arts can only 

 hope to fuccL-cd by turning his attention to llie fenfilive part 

 of nature, p;;rt!cularly by an inquiry after fuch bbjeds as are 

 naturally agreeable, or the contrary : alfo fuch as are grand 

 or mean, proper or improper. This is the only foundation 

 of a juft and rational tafte, and, like morals, may be culti- 

 vated to a WwM degree of refinement. The fine arts, where 

 the feelinj^s ualy are coucarued, will pleafc, from their no- 

 P a veUy, 



