painters belonging to every school. Had it possessed masters, they would have produced for every excellent disciple, at least twenty of only middling talent, whose works would have filled its palaces and churches, as it has happened to so many other secondary cities. Like one university for letters, one academy for the fine arts is usually found sufficient for a single state; and in particular, where it is established, supported, and encouraged in the manner of that at Parma. It owed its origin to Don Philip of Bourbon, in 1757, the tenth year of his government; and his son, who at this time bears sway, continues to promote the interests of the institution.[33] Nothing can be better calculated to revive among us the noble genius of the art of painting, than the method there adopted in the distribution of premiums. The subject of the painting being proposed, the young artists invited to the competition are not confined to those of the state; and consequently the industry of the most able and best matured students is laid under contribution, in every place, for the service of Parma. The method of holding the assembly, the skill and integrity of the umpires, and the whole form of the decision, excludes every doubt or suspicion respecting the superiority of the piece adjudged. The artist is largely remunerated; but his highest ambition is gratified in having been pronounced the first among so many competitors, and before such an assemblage. This is of itself always sufficient to raise the successful candidate above the common standard, and often leads to fortune. The prize painting assumes its perpetual station in one of the academic halls, along with the favourite pieces of previous years, forming a series which already excites a warm interest among the lovers of the fine arts. Since the period when the Cortona manner began to lose ground in Italy, a manner that, under such a variety of names and sects, had usurped so wide a sway, the art in our own times has approached a sort of crisis, which as yet forms an essay of new styles, rather than any prevailing one characteristic of this new era. It is in such a collection, better than in any book, that we may study the state of our existing schools; what maxims are now enforced; what kind of imitation, and with how much freedom, is allowed; from what source we are to look for a chance of recovering the ancient art of colouring; what profit painting has derived from the copies of the best pictures published in engravings, and from the precepts of the masters communicated through the medium of prints. I am aware that a variety of opinion is entertained on this head, nor would my own, were I to interpose it, give weight to any of the conflicting arguments in this matter. But I am happy to say, that finding at length appeals made to reason, which were formerly referred to practice, I feel inclined rather to indulge hopes than doubt or diffidence in regard to the future.