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INTRODUCTION.
than in the mixing of colors and in manipulation. Those reflective powers, which, for the sake of real advancement, should be called into action, decline from want of exercise, and the student finds that while his progress has been slow, he has acquired the injurious habit of allowing others to think for him. The great copyist has been seldom found to be a man of mind. He should, as soon as possible draw from natural objects, and so, beginning early to know what he sees, which is in fact the great difficulty, he will make good his way and soon be able to draw a figure for himself.
If the Student is anxious to succeed he must shake off all affected notions about genius (”He who begins by presuming on his own sense, has ended his studies as soon as he has commenced them.” –Sir J. Reynolds) As excellence of moral character results not from ignorance, but is the conscious rejection of evil, so truthfulness in the representation of nature, whether animate or inanimate, is not the fruit of unaided natural talent, but of experience, investigation and practice upon truthful principles. And as innocency of life betrays not natural inclination and feebleness of mind, but dignity, determination and unceasing watchfulness; so apparent ease in imitating the works of creation speaks not of natural impulses and inherent power, but of vigilance and well-directed application. The beginner should not seek to draw dexterously but accurately. Rapidity of execution is the fruit of knowledge ; where masterly handling exists, the dexterity is only apparent, being the well digested product of mental forethought and consideration. It is dangerous for a Student to imagine himself a Genius. A Genius spurns system, while all created life moves and is developed by it ("Rules are fetters only to men of no genius." -Sir J. Reynolds). Talent is not knowledge, but the power of acquiring it. Therefore genius that feeds upon itself feeds upon an abstract power, and conceives that which it cannot realize.
But perhaps the desire for fame is as great an impediment to the young artist and as dangerous as the fancied possession of genius. Sighing for fame will not bring it, but unfits his mind for modest application. He is often seduced by this desire into a ruinous affectation of boldness. It incites not to inward meditation but to impatience of labour, and as long as it is the master passion of the mind it will prevent its possessor from deserving if not from acquiring it. He only is really great who forgets himself for the good of others. The famous have been met by Fame ; they who work for her are not wise, and their end is disappointment and often despair. Let him pursue his work for the love of it, and let the production of that which is true and beautiful reward his labour. If Fame meet him, let him receive her as an encouragement, not as his desert. Talent is its own reward; in seeking fame, it is weakened by the act. There is no moral or mental advancement until self-knowledge and consequent humility show us our
