I　must　beg　leave　to　submit　one　thing　more　to　the　consideration　of　the　visitors；　which　appears　to　me　a　matter　of　very　great　consequence；　and　the　omission　of　which　I　think　a　principal　defect　in　the　method　of　education　pursued　in　all　the　academies　I　have　ever　visited。　　The　error　I　mean　is；　that　the　students　never　draw　exactly　from　the　living　models　which　they　have　before　them。　　It　is　not　indeed　their　intention；　nor　are　they　directed　to　do　it。　　Their　drawings　resemble　the　model　only　in　the　attitude。　　They　change　the　form　according　to　their　vague　and　uncertain　ideas　of　beauty；　and　make　a　drawing　rather　of　what　they　think　the　figure　ought　to　be　than　of　what　it　appears。　　I　have　thought　this　the　obstacle　that　has　stopped　the　progress　of　many　young　men　of　real　genius；　and　I　very　much　doubt　whether　a　habit　of　drawing　correctly　what　we　see　will　not　give　a　proportionable　power　of　drawing　correctly　what　we　imagine。　　He　who　endeavours　to　copy　nicely　the　figure　before　him　not　only　acquires　a　habit　of　exactness　and　precision；　but　is　continually　advancing　in　his　knowledge　of　the　human　figure；　and　though　he　seems　to　superficial　observers　to　make　a　slower　progress；　he　will　be　found　at　last　capable　of　adding　（without　running　into　capricious　wildness）　that　grace　and　beauty　which　is　necessary　to　be　given　to　his　more　finished　works；　and　which　cannot　be　got　by　the　moderns；　as　it　was　not　acquired　by　the　ancients；　but　by　an　attentive　and　well…compared　study　of　the　human　form。
  What　I　think　ought　to　enforce　this　method　is；　that　it　has　been　the　practice　（as　may　be　seen　by　their　drawings）　of　the　great　masters　in　the　art。　　I　will　mention　a　drawing　of　Raffaelle；　〃The　Dispute　of　the　Sacrament；〃　the　print　of　which；　by　Count　Cailus；　is　in　every　hand。　　It　appears　that　he　made　his　sketch　from　one　model；　and　the　habit　he　had　of　drawing　exactly　from　the　form　before　him　appears　by　his　making　all　the　figures　with　the　same　cap；　such　as　his　model　then　happened　to　wear；　so　servile　a　copyist　was　this　great　man；　even　at　a　time　when　he　was　allowed　to　be　at　his　highest　pitch　of　excellence。
  I　have　seen　also　academy　figures　by　Annibale　Caracci；　though　he　was　often　sufficiently　licentious　in　his　finished　works；　drawn　with　all　the　peculiarities　of　an　individual　model。
  This　scrupulous　exactness　is　so　contrary　to　the　practice　of　the　academies；　that　it　is　not　without　great　deference　that　I　beg　leave　to　recommend　it　to　the　consideration　of　the　visitors；　and　submit　it　to　them；　whether　the　neglect　of　this　method　is　not　one　of　the　reasons　why　students　so　often　disappoint　expectation；　and　being　more　than　boys　at　sixteen；　become　less　than　men　at　thirty。
  In　short；　the　method　I　recommend　can　only　be　detrimental　when　there　are　but　few　living　forms　to　copy；　for　then　students；　by　always　drawing　from　one　alone；　will　by　habit　be　taught　to　overlook　defects；　and　mistake　deformity　for　beauty。　　But　of　this　there　is　no　danger；　since　the　council　has　determined　to　supply　the　academy　with　a　variety　of　subjects；　and　indeed　those　laws　which　they　have　drawn　up；　and　which　the　secretary　will　presently　read　for　your　confirmation；　have　in　some　measure　precluded　me　from　saying　more　upon　this　occasion。　　Instead；　therefore；　of　offering　my　advice；　permit　me　to　indulge　my　wishes；　and　express　my　hope；　that　this　institution　may　answer　the　expectations　of　its　royal　founder；　that　the　present　age　may　vie　in　arts　with　that　of　Leo　X。　and　that　〃the　dignity　of　the　dying　art〃　（to　make　use　of　an　expression　of　Pliny）　may　be　revived　under　the　reign　of　George　III。
  A　DISCOURSE
  Delivered　to　the　Students　of　the　Royal　Academy；　on　the　Distribution　of　the　Prizes；　December　11；　I769；　by　the　President。
  Gentlemen；I　congratulate　you　on　the　honour　which　you　have　just　received。　　I　have　the　highest　opinion　of　your　merits；　and　could　wish　to　show　my　sense　of　them　in　something　which　possibly　may　be　more　useful　to　you　than　barren　praise。　　I　could　wish　to　lead　you　into　such　a　course　of　study　as　may　render　your　future　progress　answerable　to　your　past　improvement；　and；　whilst　I　applaud　you　for　what　has　been　done；　remind　you　of　how　much　yet　remains　to　attain　perfection。
  I　flatter　myself；　that　from　the　long　experience　I　have　had；　and　the　unceasing　assiduity　with　which　I　have　pursued　those　studies；　in　which；　like　you；　I　have　been　engaged；　I　shall　be　acquitted　of　vanity　in　offering　some　hints　to　your　consideration。　　They　are　indeed　in　a　great　degree　founded　upon　my　own　mistakes　in　the　same　pursuit。　　But　the　history　of　errors　properly　managed　often　shortens　the　road　to　truth。　　And　although　no　method　of　study　that　I　can　offer　will　of　itself　conduct　to　excellence；　yet　it　may　preserve　industry　from　being　misapplied。
  In　speaking　to　you　of　the　theory　of　the　art；　I　shall　only　consider　it　as　it　has　a　relation　to　the　method　of　your　studies。
  Dividing　the　study　of　painting　into　three　distinct　periods；　I　shall　address　you　as　having　passed　through　the　first　of　them；　which　is　confined　to　the　rudiments；　including　a　facility　of　drawing　any　object　that　presents　itself；　a　tolerable　readiness　in　the　management　of　colours；　and　an　acquaintance　with　the　most　simple　and　obvious　rules　of　composition。
  This　first　degree　of　proficiency　is；　in　painting；　what　grammar　is　in　literature；　a　general　preparation　to　whatever　species　of　the　art　the　student　may　afterwards　choose　for　his　more　particular　application。　　The　power　of　drawing；　modelling；　and　using　colours　is　very　properly　called　the　language　of　the　art；　and　in　this　language；　the　honours　you　have　just　received　prove　you　to　have　made　no　inconsiderable　progress。
  When　the　artist　is　once　enabled　to　express　himself　with　some　degree　of　correctness；　he　must　then　endeavour　to　collect　subjects　for　expression；　to　amass　a　stock　of　ideas；　to　be　combined　and　varied　as　occasion　may　require。　　He　is　now　in　the　second　period　of　study；　in　which　his　business　is　to　learn　all　that　has　hitherto　been　known　and　done。　　Having　hitherto　received　instructions　from　a　particular　master；　he　is　now　to　consider　the　art　itself　as　his　master。　　He　must　extend　his　capacity　to　more　sublime　and　general　instructions。　Those　perfections　which　lie　scattered　among　various　masters　are　now　united　in　one　general　idea；　which　is　henceforth　to　regulate　his　taste　and　enlarge　his　imagination。　　With　a　variety　of　models　thus　before　him；　he　will　avoid　that　narrowness　and　poverty　of　conception　which　attends　a　bigoted　admiration　of　a　single　master；　and　will　cease　to　follow　any　favourite　where　he　ceases　to　excel。　　This　period　is；　however；　still　a　time　of　subjection　and　discipline。　Though　the　student　will　not　resign　himself　blindly　to　any　single　authority　when　he　may　have　the　advantage　of　consulting　many；　he　must　still　be　afraid　of　trusting　his　own　judgment；　and　of　deviating　into　any　track　where　he　cannot　find　the　footsteps　of　some　former　master。
  The　third　and　last　period　emancipates　the　student　from　subjection　to　any　authority　but　what　he　shall　himself　judge　to　be　supported　by　reason。　　Confiding　now　in　his　own　judgment；　he　will　consider　and　separate　those　different　principles　to　which　different　modes　of　beauty　owe　their　original。　　In　the　former　period　he　sought　only　to　know　and　combine　excellence；　wherever　it　was　to　be　found；　into　one　idea　of　perfection；　in　this　he　learns；　what　requires　the　most　attentive　survey　and　the　subtle　disquisition；　to　discriminate　perfections　that　are　incompatible　with　each　other。
  He　is　from　this　time　to　regard　himself　as　holding　the　same　rank　with　those　masters　whom　he　before　obeyed　as　teachers；　and　as　exercising　a　sort　of　sovereignty　over　those　rules　which　have　hitherto　restrained　him。　　Comparing　now　no　longer　the　performances　of　art　with　each　other；　but　examining　the　art　itself　by　the　standard　of　nature；　he　corrects　what　is　erroneous；　supplies　what　is　scanty；　and　adds　by　his　own　observation　what　the　industry　of　his　predecessors　may　have　yet　left　wanting　to　perfection。　　Having　well　established　his　judgment；　and　stored　his　memory；　he　may　now　without　fear　try　the　power　of　his　imagination。　　The　mind　that　has　been　thus　disciplined　may　be　indulged　in　the　warmest　enthusiasm；　and　venture　to　play　on　the　borders　of　the　wildest　extravagance。　　The　habitual　dignity；　which　long　converse　with　the　greatest　minds　has　imparted　to　him；　will　display　itself　in　all　his　attempts；　and　he　will　stand　among　his　instructors；　not　as　an　imitator；　but　a　rival。
  These　are　the　different　stages　of　the　art。　　But　as　I　now　address　myself　particularly　to　those　students　who　have　been　this　day　rewarded　for　their　happy　passage　through　the　first　period；　I　can　with　no　propriety　suppose　they　want　any　help　in　the　initiatory　studies。　　My　present　design　is　to　direct　your　view　to　distant　excellence；　and　to　show　you　the　readiest　path　that　leads　to　it。　　Of　this　I　shall　speak　with　such　latitude　as　may　leave　the　province　of　the　professor　uninvaded；　and　shall　not　anticipate　those　precepts　which　it　is　his　business　to　give　and　your　duty　to　understand。
  It　is　indisputably　evident　that　a　great　part　of　every　man's　life　must　be　employed　in　collecting　materials　for　the　exercise　of　genius。　　Invention；　strictly　speaking；　is　little　more　than　a　new　combination　of　those　images　which　have　been　previously　gathered　and　deposited　in　the　memory。　　Nothing　can　come　of　nothing。　　He　who