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 thosewho 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 homewares 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.
