The reality of a standard of taste as well as of corporal beauty.--Beside this immutable truth, there are secondary truths, which are variable; both requiring the attention of the Artist, in proportion to their stability or their influence 98 DISCOURSE VIII. The principles of Art, whether Poetry or Painting, have their foundation in the mind; such as novelty, variety, and contrast; these in their excess become defects.--Simplicity, its excess disagreeable.--Rules not to be always observed in their literal sense; sufficient to preserve the spirit of the law.--Observations on the Prize Pictures 129 DISCOURSE IX. On the removal of the Royal Academy to Somerset Place.--The advantages to Society from cultivating intellectual pleasure 154 DISCOURSE X. Sculpture: Has but one style.--Its objects, form, and character.--Ineffectual attempts of the modern Sculptors to improve the art.--Ill effects of modern dress in Sculpture 158 DISCOURSE XI. Genius: Consists principally in the comprehension of _A whole_; in taking general ideas only 174 DISCOURSE XII. Particular methods of study of little consequence--Little of the art can be taught.--Love of method often a love of idleness.--_Pittori improvvisatori_ apt to be careless and incorrect; seldom original and striking:--This proceeds from their not studying the works of other masters 190 DISCOURSE XIII. Art not merely imitation, but under the direction of the Imagination.--In what manner Poetry, Painting, Acting, Gardening, and Architecture depart from Nature 211 DISCOURSE XIV. Character of _Gainsborough_: his excellencies and defects 230 DISCOURSE XV. The _President_ takes leave of the Academy.--A Review of the Discourses.--The study of the Works of _Michel Angelo_ recommended 248 THE IDLER, No. 76. False Criticisms on Painting 269 ---- No. 79. The Grand Style of Painting 275 ---- No. 82. The true idea of Beauty 279 INTRODUCTION.