| DISCOURSE I. | PAGE |
| The advantages proceeding from the institution of a Royal Academy.—Hints offered to the consideration of the Professors and visitors.—That an implicit obedience to the rules of Art be exacted from the young students.—That a premature disposition to a masterly dexterity be repressed.—That diligence be constantly recommended, and (that it may be effectual) directed to its proper object | 1 |
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| DISCOURSE II. | |
| The course and order of study.—The different stages of Art.—Much copying discountenanced.—The Artist at all times and in all places should be employed in laying up materials for the exercise of his Art | 10 |
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| DISCOURSE III. | |
| The great leading principles of the grand style.—Of beauty.—The genuine habits of nature to be distinguished from those of fashion | 25 |
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| DISCOURSE IV. | |
| 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 | 39 |
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| DISCOURSE V. | |
| Circumspection required in endeavouring to unite contrary excellencies.—The expression of a mixed passion not to be attempted.—Examples of those who excelled in the great style.—Raffaelle, Michel Angelo, those two extraordinary men compared with each other.—The characteristical style.—Salvator Rosa mentioned as an example of that style; and opposed to Carlo Maratti.—Sketch of the characters of Poussin and Rubens.—These two Painters entirely dissimilar, but consistent with themselves.—This consistency required in all parts of the Art | 58 |
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| DISCOURSE VI. | |
| Imitation.—Genius begins where rules end.—Invention; acquired by being conversant with the inventions of others.—The true method of imitating.—Borrowing, how far allowable.—Something to be gathered from every school | 74 |
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| DISCOURSE VII. | |
| 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 |
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| 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 |
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| DISCOURSE IX. | |
| On the removal of the Royal Academy to Somerset Place.—The advantages to Society from cultivating intellectual pleasure | 154 |
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| 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 |
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| DISCOURSE XI. | |
| Genius: Consists principally in the comprehension of A whole; in taking general ideas only | 174 |
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| 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 |
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| 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 |
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| DISCOURSE XIV. | |
| Character of Gainsborough: his excellencies and defects | 230 |
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| DISCOURSE XV. | |
| The President takes leave of the Academy.—A Review of the Discourses.—The study of the Works of Michel Angelo recommended | 248 |
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| 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 |
