had upon all who are most learned in art, and upon nearly all painters in the best time of art. As art multiplies, false tastes will arise, the early painters had not so much to unlearn as modern artists. Where Michael Angelo is not felt, there is a lost taste to recover. Sir Joshua recommends young artists to follow Michael Angelo as he did the ancient sculptors. "He began, when a child, a copy of a mutilated Satyr's head, and finished in his model what was wanting in the original." So would he recommend the student to take his figures from Michael Angelo, and to change, and alter, and add other figures till he has caught the manner. Change the purpose, and retain the attitude, as did Titian. By habit of seeing with this eye of grandeur, he will select from nature all that corresponds with this taste. Sir Joshua is aware that he is laying himself open to sarcasm by his advice, but asserts the courage becoming a teacher addressing students: "they both must equally dare, and bid defiance to narrow criticism and vulgar opinion." It is the conceited who think that art is nothing but inspiration; and such appropriate it in their own estimation; but it is to be learned,--if so, the right direction to it is of vast importance; and once in the right direction, labour and study will accomplish the better aspirations of the artist. Michael Angelo said of Raffaelle, that he possessed not his art by nature but by long study. "Che Raffaelle non ebbe quest' arte da natura, ma per longo studio." Raffaelle and Michael Angelo were rivals, but ever spoke of each other with the respect and veneration they felt, and the true meaning of the passage was to the praise of Raffaelle; those were not the days when men were ashamed of being laborious,--and Raffaelle himself "thanked God that he was born in the same age with that painter."--"I feel a self-congratulation," adds Sir Joshua, "in knowing myself capable of such sensations as he intended to excite. I reflect, not without vanity, that these Discourses bear testimony of my admiration of that truly divine man; and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of Michael Angelo." They were his last words from the academical chair. He died about fourteen months after the delivery of this Discourse. Mr Burnet has given five excellent plates to this Discourse--one from Parmegiano, one from Tibaldi, one from Titian, one from Raffaelle, and one from Michael Angelo. Mr Burnet's first note repeats what we have again and again elsewhere urged, the advantage of establishing at our universities, Oxford and Cambridge, Professorships of Painting--infinite would be the advantage to art, and to the public. We do not despair. Mr Burnet seems to fear incorrect drawing will arise from some passages, which he supposes encourages it, in these Discourses; and fearing it, very properly endeavours to correct the error in a note.