ademy, whom he saw working
upon a large picture, "without drawings or models of any kind." He had
left off the use of models many years. Though a man of ability, his
pictures showed the mischief of his practice. Mr Burnet's notes to this
Discourse add little to the material of criticism; they do but reiterate
in substance what Sir Joshua had himself sufficiently repeated. His
object seems rather to seize an opportunity of expressing his admiration
of Wilkie, whom he adduces as a parallel example with Raffaelle of
successful borrowing. It appears from the account given of Wilkie's
process, that he carried the practice much beyond Raffaelle. We cannot
conceive any thing _very_ good coming from so very methodical a manner
of setting to work. Would not the fire of genius be extinguished by the
coolness of the process? "When he had fixed upon his subject, he thought
upon _all_ pictures of that class already in existence." The after
process was most elaborate. Now, this we should think a practice quite
contrary to Raffaelle's, who more probably trusted to his own conception
for the character of his picture as a whole, and whose borrowing was
more of single figures; but, if of the whole manner of treating his
subject, it is not likely that he would have thought of more than one
work for his imitation. The fact is, Sir David Wilkie's pictures show
that he did carry this practice too far--for there is scarcely a picture
of his that does not show patches of imitations, that are not always
congruous with each other; there is too often in one piece, a bit of
Rembrandt, a bit of Velasquez, a bit of Ostade, or others. The most
perfect, as a whole, is his "Chelsea Pensioners." We do not quite
understand the brew of study fermenting an accumulation of knowledge,
and imagination exalting it. "An accumulation of knowledge impregnated
his mind, fermented by study, and exalted by imagination;" this is very
ambitious, but not very intelligible. He speaks of Wilkie attracting the
attention of admirers and detractors. It is very absurd to consider
criticism that is not always favourable, detraction. The following
passage is well put. "We constantly hear the ignorant advising a student
to study the great book of nature, without being biassed by what has
been done by other painters; it is as absurd as if they would recommend
a youth to learn astronomy by lying in the fields, and looking on the
stars, without reference to the works of Kepler, Tych