In the same vein, he breaks out against the practice of drawing from the academic model. All these academic positions, affected, constrained, artificial, as they are; all these actions coldly and awkwardly expressed by some poor devil, and always the same poor devil, hired to come three times a week, to undress himself, and to play the puppet in the hands of the professor--what have these in common with the positions and actions of nature? What is there in common between the man who draws water from the well in your courtyard, and the man who pretends to imitate him on the platform of the drawing-school? If Diderot thought the seven years passed in drawing the model no better than wasted, he was not any more indulgent to the practice of studying the minutiae of the anatomy of the human frame. He saw the risk of the artist becoming vain of his scientific acquirement, of his eye being corrupted, of his seeking to represent what is under the surface, of his forgetting that he has only the exterior to show. A practice that is intended to make the student look at nature most commonly tends to make him see nature other than she really is. To sum up, mannerism would disappear from drawing and from colour, if people would only scrupulously imitate nature. Mannerism comes from the masters, from the academy, from the school, and even from the antique.[56] [56] x. 467. For a more respectful view of the antique, and of Winckelmann's position, see _Salon de 1765_, x. 418. We may easily believe how many fallacies were discerned in such lessons as these by the author of _Iphigenie_, and the passionate admirer of the ancient marbles. Diderot's fundamental error, said Goethe, is to confound nature and art, completely to amalgamate nature with art. "Now Nature organises a living, an indifferent being, the Artist something dead, but full of significance; Nature something real, the Artist something apparent. In the works of Nature the spectator must import significance, thought, effect, reality; in a work of Art he will and must find this already there. A perfect imitation of Nature is in no sense possible; the Artist is only called to the representation of the surface of an appearance. The outside of the vessel, the living whole that speaks to all our faculties of mind and sense, that stirs our desire, elevates our intelligence--that whose possession makes us happy, the vivid, potent, finished Beautiful--for all this is the Artist appointed." In other words, art has its own laws, as it has its own aims, and these are not the laws and aims of nature. To mock at rules is to overthrow the conditions that make a painting or a statue possible. To send the pupil away from the model to the life of the street, the gaol, the church, is to send him forth without teaching him for what to look. To make light of the study of anatomy in art, is like allowing the composer to forget thorough bass in his enthusiasm, or the poet in his