thus wrought with such pain, now appear like the effect of

enchantment, and as if some mighty genius had struck them off at a

blow.

But, whilst diligence is thus recommended to the students, the

visitors will take care that their diligence be effectual; that it

be well directed and employed on the proper object. A student is

not always advancing because he is employed; he must apply his

strength to that part of the art where the real difficulties lie;

to that part which distinguishes it as a liberal art, and not by

mistaken industry lose his time in that which is merely ornamental.

The students, instead of vying with each other which shall have the

readiest band, should be taught to contend who shall have the

purest and most correct outline, instead of striving which shall

produce the brightest tint, or, curiously trifling endeavour to

give the gloss of stuffs so as to appear real, let their ambition

be directed to contend which shall dispose his drapery in the most

graceful folds, which shall give the most grace and dignity to the

human figure.

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