seven discourses on art-第16部分
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for imitation； it requires no less circumspection to separate and distinguish what in those models we ought to imitate。
I cannot avoid mentioning here； though it is not my intention at present to enter into the art and method of study； an error which students are too apt to fall into。
He that is forming himself must look with great caution and wariness on those peculiarities； or prominent parts； which at first force themselves upon view； and are the marks； or what is commonly called the manner； by which that individual artist is distinguished。
Peculiar marks I hold to be generally； if not always； defects； however difficult it may be； wholly to escape them。
Peculiarities in the works of art are like those in the human figure； it is by them that we are cognisable and distinguished one from another； but they are always so many blemishes； which； however； both in the one case and in the other； cease to appear deformities to those who have them continually before their eyes。 In the works of art； even the most enlightened mind； when warmed by beauties of the highest kind； will by degrees find a repugnance within him to acknowledge any defects； nay； his enthusiasm will carry him so far as to transform them into beauties and objects of imitation。
It must be acknowledged that a peculiarity of style； either from its novelty； or by seeming to proceed from a peculiar turn of mind； often escapes blame； on the contrary； it is sometimes striking and pleasing； but this it is vain labour to endeavour to imitate； because novelty and peculiarity being its only merit； when it ceases to be new； it ceases to have value。
A manner； therefore； being a defect； and every painter； however excellent； having a manner； it seems to follow that all kinds of faults； as well as beauties； may be learned under the sanction of the greatest authorities。
Even the great name of Michael Angelo may be used to keep in countenance a deficiency； or rather neglect of colouring； and every other ornamental part of the art。
If the young student is dry and hard； Poussin is the same。 If his work has a careless and unfinished air； he has most of the Venetian School to support him。 If he makes no selection of objects； but takes individual nature just as he finds it； he is like Rembrandt。 If he is incorrect in the proportions of his figures； Correggio was likewise incorrect。 If his colours are not blended and united； Rubens was equally crude。
In short； there is no defect but may be excused； if it is a sufficient excuse that it can be imputed to considerable artists； but it must be remembered that it was not by these defects they acquired their reputation： they have a right to our pardon； but not to our admiration。
However； to imitate peculiarities or mistake defects for beauties that man will be most liable who confines his imitation to one favourite master； and； even though he chooses the best； and is capable of distinguishing the real excellences of his model； it is not by such narrow practice that a genius or mastery in the art is acquired。 A man is as little likely to form a true idea of the perfection of the art by studying a single artist as he would be of producing a perfectly beautiful figure by an exact imitation of any individual living model。
And as the painter； by bringing together in one piece those beauties which are dispersed amongst a great variety of individuals； produces a figure more beautiful than can be found in nature； so that artist who can unite in himself the excellences of the various painters； will approach nearer to perfection than any one of his masters。
He who confines himself to the imitation of an individual； as he never proposes to surpass； so he is not likely to equal； the object of imitation。 He professes only to follow； and he that follows must necessarily be behind。
We should imitate the conduct of the great artists in the course of their studies； as well as the works which they produced； when they were perfectly formed。 Raffaelle began by imitating implicitly the manner of Pietro Perugino； under whom he studied； so his first works are scarce to be distinguished from his master's； but soon forming higher and more extensive views； he imitated the grand outline of Michael Angelo。 He learnt the manner of using colours from the works of Leonardo da Vinci and Fratre Bartolomeo： to all this he added the contemplation of all the remains of antiquity that were within his reach； and employed others to draw for him what was in Greece and distant places。 And it is from his having taken so many models that he became himself a model for all succeeding painters； always imitating； and always original。
If your ambition therefore be to equal Raffaelle； you must do as Raffaelle did； take many models； and not take even him for your guide alone to the exclusion of others。 And yet the number is infinite of those who seem； if one may judge by their style； to have seen no other works but those of their master； or of some favourite whose manner is their first wish and their last。
I will mention a few that occur to me of this narrow； confined； illiberal； unscientific； and servile kind of imitators。 Guido was thus meanly copied by Elizabetta Sirani； and Simone Cantarini； Poussin； by Verdier and Cheron； Parmigiano； by Jeronimo Mazzuoli； Paolo Veronese and Iacomo Bassan had for their imitators their brothers and sons； Pietro de Cortona was followed by Ciro Ferri and Romanelli； Rubens； by Jacques Jordans and Diepenbeck； Guercino； by his own family； the Gennari； Carlo Marratti was imitated by Giuseppe Chiari and Pietro da Pietri； and Rembrandt； by Bramer； Eckhout； and Flink。 All these； to whom may be added a much longer list of painters； whose works among the ignorant pass for those of their masters； are justly to be censured for barrenness and servility。
To oppose to this list a few that have adopted a more liberal style of imitation： Pelegrino Tibaldi； Rosso； and Primaticio did not coldly imitate； but caught something of the fire that animates the works of Michael Angelo。 The Carraches formed their style from Pelegrino Tibaldi； Correggio； and the Venetian School。 Domenichino； Guido； Lanfranco； Albano； Guercino； Cavidone； Schidone； Tiarini； though it is sufficiently apparent that they came from the School of the Carraches； have yet the appearance of men who extended their views beyond the model that lay before them； and have shown that they had opinions of their own； and thought for themselves； after they had made themselves masters of the general principles of their schools。
Le Seure's first manner resembles very much that of his master Vovet： but as he soon excelled him； so he differed from him in every part of the art。 Carlo Marratti succeeded better than those I have first named； and I think owes his superiority to the extension of his views； besides his master Andrea Sacchi； he imitated Raffaelle； Guido； and the Carraches。 It is true； there is nothing very captivating in Carlo Marratti； but this proceeded from wants which cannot be completely supplied； that is； want of strength of parts。 In this； certainly men are not equal； and a man can bring home wares only in proportion to the capital with which he goes to market。 Carlo； by diligence； made the most of what he had； but there was undoubtedly a heaviness about him； which extended itself； uniformly to his invention； expression； his drawing； colouring； and the general effect of his pictures。 The truth is； he never equalled any of his patterns in any one thing； and he added little of his own。
But we must not rest contented； even in this general study of the moderns； we must trace back the art to its fountain head； to that source from whence they drew their principal excellences； the monuments of pure antiquity。
All the inventions and thoughts of the ancients； whether conveyed to us in statues； bas…reliefs； intaglios； cameos； or coins； are to be sought after and carefully studied： The genius that hovers over these venerable relics may be called the father of modern art。
From the remains of the works of the ancients the modern arts were revived； and it is by their means that they must be restored a second time。 However it may mortify our vanity； we must be forced to allow them our masters； and we may venture to prophecy； that when they shall cease to be studied； arts will no longer flourish； and we shall again relapse into barbarism。
The fire of the artist's own genius operating upon these materials which have been thus diligently collected； will enable him to make new combinations； perhaps； superior to what had ever before been in the possession of the art。 As in the mixture of the variety of metals； which are said to have been melted and run together at the burning of Corinth； a new and till then unknown metal was produced equal in value to any of those that had contributed to its composition。 And though a curious refiner may come with his crucibles； analyse and separate its various component parts； yet Corinthian brass would still hold its rank amongst the most beautiful and valuable of metals。
We have hitherto considered the advantages of imitation as it tends to form the taste； and as a practice by which a spark of that genius may be caught which illumines these noble works； that ought always to be present to our thoughts。
We come now to speak of another kind of imitation； the borrowing a particular thought； an action； attitude； or figure； and transplanting it into your own work： this will either come under the charge of plagiarism； or be warrantable； and deserve commendation； according to the address with which it is performed。 There is some difference likewise whether it is upon the ancients or the moderns that these depredations are made。 It is generally allowed that no man need be ashamed of copying the ancients： their works are considered as a magazine of common property； always open to the public； whence every man has a right to what materials he pleases； and if he has the art of using them； they are supposed to become to all intents and purposes his own property。
The collection which Raffaelle made of the thoughts of the ancients with so much trouble； is a proof of his opinion on this subject。 Such collections may be made with m
