manner, he has given more animation to the
figure of Sergius Paulus, and to that which is introduced in the picture
of Paul preaching, of which little more than hints are given by
Masaccio, which Raffaelle has finished. The closing the eyes of this
figure, which in Masaccio might be easily mistaken for sleeping, is not
in the least ambiguous in the Cartoon. His eyes, indeed are closed, but
they are closed with such vehemence, that the agitation of a mind
_perplexed in the extreme_ is seen at the first glance; but what is most
extraordinary, and I think particularly to be admired, is, that the same
idea is continued through the whole figure, even to the drapery, which
is so closely muffled about him, that even his hands are not seen: By
this happy correspondence between the expression of the countenance and
the disposition of the parts, the figure appears to think from head to
foot. Men of superior talents alone are capable of thus using and
adapting other men's minds to their own purposes, or are able to make
out and finish what was only in the original a hint or imperfect
conception. A readiness in taking such hints, which escape the dull and
ignorant, makes, in my opinion, no inconsiderable part of that faculty
of mind which is called genius." He urges the student not even to think
himself qualified to invent, till he is well acquainted with the stores
of invention the world possesses; and insists that, without such study,
he will not have learned to select from nature. He has more than once
enforced this doctrine, because it is new. He recommends, even in
borrowing, however, an immediate recurrence to the model, that every
thing may be finished from nature. Hence he proceeds to give some
directions for placing the model and the drapery--first to impress upon
the model the purpose of the attitude required--next, to be careful not
to alter drapery with the hand, rather trusting, if defective, to a new
cast. There is much in being in the way of accident. To obtain the
freedom of accident Rembrandt put on his colours with his palette-knife;
a very common practice at the present day. "Works produced in an
accidental manner will have the same free unrestrained air as the works
of nature, whose particular combinations seem to depend upon accident."
He concludes this Discourse by more strenuously insisting upon the
necessity of ever having nature in view--and warns students by the
example of Boucher, Director of the French Ac