f eminence by other means than those which the indispensable rules of art have prescribed. They must, therefore, be told again and again that labour is the only price of solid fame, and that whatever their force of genius may be, there is no easy method of becoming a good painter.
When we read the lives of the most eminent painters, every page informs us that no part of their time was spent in dissipation. Even an increase of fame served only to augment their industry. To be convinced with what persevering assiduity they pursued their studies, we need only reflect on their method of proceeding in their most celebrated works. When they conceived a subject, they first made a variety of sketches; then a finished drawing of the whole; after that a more correct drawing of every separate part, heads, hands, feet, and pieces of drapery; they then painted the picture, and after all re-touched it from the life. The pictures, thus wrought with such pain, now appear like the effect of enchantment, and as if some