It is evident that Blake has not always fully followed Reynolds' meaning. Indeed, Sir Joshua is at times a little obscure, a circumstance his detractors did not overlook, nicknaming him Sir Obadiah Twylight, and classifying his style as "sub-fusk."
Concerning this Third Discourse, which deals with the grand style and the right imitation of nature, an anecdote is preserved. West was at the time painting his picture of the "Death of Wolfe." When it was understood that he meant to paint the characters as they actually appeared on the scene, the Archbishop of York called on Reynolds and asked his opinion concerning this. Both visited West and endeavoured to dissuade him. West, firm in his rejection of the classic dress, replied, "I want to mark the place, the time, and the people, and to do this I must abide by truth."
When the picture was finished he called Sir Joshua to see it. Reynolds seated himself before the canvas and examined it with interest for half-an-hour, and then, rising, said, "West has conquered; he has treated the subject as it ought to be treated." So just was Reynolds' mind that he could admit the truth even when it opposed his own theories.
Ruskin has also contributed his quota to the Reynolds controversy. Writing in his favourite antithetic style, he says:—
"Nearly every word that Reynolds wrote was contrary to his own practice; he seems to have been born to teach all error by his precept, and all excellence by his example; he enforced with his lips generalisation and idealism, while with his pencil he was tracing the patterns of the dresses of the belles of the day; he exhorted his pupils to attend only to the invariable, while he himself was occupied in distinguishing every variation of womanly temper; and he denied the existence of the beautiful at the same instant that he arrested it as it passed, and perpetuated it for ever."
Thus to Sir Joshua's lot, as to all who put themselves before the world, has fallen a portion of praise and blame; but the best praise that can be accorded a man's work is that it should survive him, and continue to arouse interest long after his death. This most certainly is the case with regard to Reynolds' Discourses, and therefore to them may apply what he has himself said as to the duration of masterpieces. Not faultless, not all-embracing, but full of historical and individual interest, of keen and careful observation, of judicious thought, they merit the attention of the modern reading public—a public far more largely interested in art than ever existed in the day when their writer lived and painted and lectured.
HELEN ZIMMERN.
TO THE KING.
The regular progress of cultivated life is from necessaries to accommodations, from accommodations to ornaments. By your illustrious predecessors were established Marts for manufactures, and Colleges for science; but for the arts of elegance, those arts by which manufactures are embellished, and science is refined, to found an Academy was reserved for Your Majesty.
Had such patronage been without effect, there has been reason to believe that Nature had, by some insurmountable impediment, obstructed our proficiency; but the annual improvement of the Exhibitions which Your Majesty has been pleased to encourage, shows that only encouragement had been wanting.
To give advice to those who are contending for royal liberality has been for some years the duty of my station in the Academy; and these Discourses hope for Your Majesty's acceptance, as well-intended endeavours to incite that emulation which your notice has kindled, and direct those studies which your bounty has rewarded.
May it please Your Majesty,
Your Majesty's
Most dutiful Servant
And most faithful Subject,
JOSHUA REYNOLDS.
[1778.]
TO THE MEMBERS
OF
THE ROYAL ACADEMY.
Gentlemen,
That you have ordered the publication of this discourse is not only very flattering to me, as it implies your approbation of the method of study which I have recommended; but likewise, as this method receives from that act such an additional weight and authority, as demands from the Students that deference and respect which can be due only to the united sense of so considerable a Body of Artists.
I am,
With the greatest esteem and respect,
Gentlemen,
Your most humble,
And obedient Servant,
JOSHUA REYNOLDS.
DISCOURSES.
SIR JOSHUA REYNOLDS' DISCOURSES.
DISCOURSE I.
Delivered at the Opening of the Royal Academy, January 2, 1769.
THE ADVANTAGES PROCEEDING FROM THE INSTITUTION OF A ROYAL ACADEMY.—HINTS OFFERED TO THE CONSIDERATION OF THE PROFESSORS AND VISITORS.—THAT AN IMPLICIT OBEDIENCE TO THE RULES OF ART BE EXACTED FROM THE YOUNG STUDENTS.—THAT A PREMATURE DISPOSITION TO A MASTERLY DEXTERITY BE REPRESSED.—THAT DILIGENCE BE CONSTANTLY RECOMMENDED, AND (THAT IT MAY BE EFFECTUAL) DIRECTED TO ITS PROPER OBJECT.
An Academy, in which the Polite Arts may be regularly cultivated, is at last opened among us by Royal munificence. This must appear an event in the highest degree interesting, not only to the Artist, but to the whole nation.
It is, indeed, difficult to give any other reason why an empire like that of Britain should so long have wanted an ornament so suitable to its greatness, than that slow progression of things, which naturally makes elegance and refinement the last effect of opulence and power.
An Institution like this has often been recommended upon considerations merely mercantile; but an Academy, founded upon such principles, can never effect even its own narrow purposes. If it has an origin no higher, no taste can ever be formed in manufactures; but if the higher Arts of Design flourish, these inferior ends will be answered of course.
We are happy in having a Prince who has conceived the design of such an Institution,