elegance, thinks every art worthy of his
notice that tends to soften and humanise the mind.

After so much has been done by his Majesty, it will be wholly our fault
if our progress is not in some degree correspondent to the wisdom and,
generosity of the institution; let us show our gratitude in our
diligence, that, though our merit may not answer his expectations, yet,
at least, our industry may deserve his protection.

But whatever may be our proportion of success, of this we may be sure,
that the present institution will at least contribute to advance our
knowledge of the arts, and bring us nearer to that ideal excellence which
it is the lot of genius always to contemplate and never to attain.

The principal advantage of an academy is, that, besides furnishing able
men to direct the student, it will be a repository for the great examples
of the art. These are the materials on which genius is to work, and
without which the strongest intellect may be fruitlessly or deviously
employed. By studying these authentic models, that idea of excellence
which is the result of the accumulated experience of past ages may be at
once acquired, and the tardy and obstructed progress of our predecessors
may teach us a shorter and easier way. The student receives at one
glance the principles which many artists have spent their whole lives in
ascertaining; and, satisfied with their effect, is spared the painful
investigation by which they come to be known and fixed. How many men of
great natural abilities have been lost to this nation for want of these
advantages? They never had an opportunity of seeing those masterly
efforts of genius which at once kindle the whole soul, and force it into
sudden and irresistible approbation.

Raffaelle, it is true, had not the advantage of studying in an academy;
but all Rome, and the works of Michael Angelo in particular, were to him
an academy. On the site of the Capel la Sistina he immediately from a
dry, Gothic, and even insipid manner, which attends to the minute
accidental discriminations of particular and individual objects, assumed
that grand style of painting, which improves partial representation by
the general and invariable ideas of nature.

Every seminary of learning may be said to be surrounded with an
atmosphere of floating knowledge, where every mind may imbibe somewhat
congenial to its own original conceptions. Knowledge, thus obtained, has
always something more popular and us