_Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, December 10, 1771._ GENERAL IDEAS, THE PRESIDING PRINCIPLE WHICH REGULATES EVERY PART OF ART; INVENTION, EXPRESSION, COLOURING, AND DRAPERY.--TWO DISTINCT STYLES IN HISTORY-PAINTING; THE GRAND AND THE ORNAMENTAL.--THE SCHOOLS IN WHICH EACH IS TO BE FOUND.--THE COMPOSITE STYLE.--THE STYLE FORMED ON LOCAL CUSTOMS AND HABITS, OR A PARTIAL VIEW OF NATURE. The value and rank of every art is in proportion to the mental labour employed in it, or the mental pleasure produced by it. As this principle is observed or neglected, our profession becomes either a liberal art or a mechanical trade. In the hands of one man, it makes the highest pretensions, as it is addressed to the noblest faculties: in those of another, it is reduced to a mere matter of ornament; and the painter has but the humble province of furnishing our apartments with elegance. This exertion of mind, which is the only circumstance that truly ennobles our Art, makes the great distinction between the Roman and Venetian schools. I have formerly observed that perfect form is produced by leaving out particularities, and retaining only general ideas: I shall now endeavour to show that this principle, which I have proved to be metaphysically just, extends itself to every part of the Art; that it gives what is called the _grand style_ to Invention, to Composition, to Expression, and even to Colouring and Drapery. Invention, in Painting, does not imply the invention of the subject, for that is commonly supplied by the Poet or Historian. With respect to the choice, no subject can be proper that is not generally interesting. It ought to be either some eminent instance of heroic action or heroic suffering. There must be something, either in the action or in the object, in which men are universally concerned, and which powerfully strikes upon the public sympathy. Strictly speaking, indeed, no subject can be of universal, hardly can it be of general, concern; but there are events and characters so popularly known in those countries where our Art is in request, that they may be considered as sufficiently general for all our purposes. Such are the great events of Greek and Roman fable and history, which early education, and the usual course of reading, have made familiar and interesting to all Europe, without being degraded by the vulgarism of ordinary life in any country. Such, too, are the capital subjects of Scripture history, which, beside their general notoriety, become venerable by their connection with our religion.