as of so much importance as that after eighteen or twenty. He or she would be deemed to have a dull intellect, who should require fourteen years to gain only so much as what a large proportion of children gain from the age of six to twenty.
It is possible for any man or woman whose mind has grown to that degree, that they can acknowledge that every possibility exists within themselves to learn any art, any profession, any business, and become skilled therein, and this even without teachers, and at the period termed "middle age," or after, providing,
First, That they are in living earnest to learn.
Second, That they fight obstinately against the idea of " can't," or that they are too old to learn.
Third. That in all effort to become proficient in their new calling, they cease such effort as soon as it becomes fatiguing or irksome, and that they make of such effort a recreation, and not a drudgery.
Fourth, That they allow no other person to argue, sneer, or ridicule them out of the truth that the human mind can accomplish anything it sets its forces persistently upon.
Fifth, That they keep their minds in the attitude of ever desiring, demanding, praying for whatever quality or trait of character or temperament they need to succeed in their effort; and that whenever the thought of such effort is in mind, it shall be accompanied with this unspoken thought: "I will do what I have set out to do."
There should be no "hard study" at any age. Real "study" is easy and pleasing mental effort; as when you watch the motion of an animal that awakens your curiosity, of a person that interests you. You are studying when you admire and examine the structure of a beautiful flower; you are studying the method and style of an actor or actress when they most hold and compel your attention and admiration. All admiration is in reality study. When you admire anything that is beautiful, your mind is concentrated upon it. You are quite unconsciously examining it. You remember, without effort, many of its features, or characteristics. That unforced examination and attention is study.
To "study hard " is to try to admire; to try to admire is to try to love; to try to love, or to be forced by others to try to love, generally ends in hating the thing or pursuit so forced upon you,--one reason why so often the schoolboy hates "to learn his lesson."
The experience of those who have gone before us in any art, trade, occupation, or profession, is unquestionably valuable, but valuable only as suggestion. There is a great deal laid down as rules and "canons of art" which shackle and repress originality. The idea is constantly, though indirectly, impressed on learners, that the utmost limit of perfection has been reached in some art by some " old master," and that it would be ridiculous to think of surpassing him.
Now, genius knows no "old master." It knows no set form of rules made for it by others. It makes its own rules as it goes along, as did Shakespeare, Byron, and Scott in literature, and the first Napoleon in war; and your mind may have in it the seed of some new idea, discovery, invention, some new rendering of art in some form, which the world never saw before.
Any man or woman who loves to look at trees and flowers, lakes and rivulets, waves, waterfalls, and clouds, has within him or her the faculty for imitating them in the effects of light, shade, and colour,--has, in brief, a taste for painting.
You say, "People to be artists, must have the art born within them." I say, " If they admire the art, they have within them the faculty for advance in that art."
You say, " But because I admire a rose, or a landscape, it is no sign I can ever paint either." I say, "Yes, you can, providing you really want to.
But how! Put your effort on it for an hour, half an-hour, fifteen minutes, a day. Begin. Begin anywhere. Anything in this world will do for a starting point. Begin, and try to imitate on paper a dead leaf, a live one, a stone, a rock, a log, a box, a brickbat. A brickbat lying in the mud has lying with it light, shade and colour, and the laws governing them, as much as a cathedral, and is a better foundation than a cathedral to begin on. Begin with the stub of a pencil, on the back of an old envelope. Every minute of such work after beginning is so much practice gained. Every minute before such beginning, providing you intend to begin, and do not, is so much practice lost, as regards that particular art.
Mind, however, you make of such practice a recreation, just as boys do in ball throwing and catching, or as the billiard player does who takes up the cue for half-an-hour, matched only against himself, or as the horseman does who exercises the horse for practice before the race. When the work becomes irksome, when you get out of patience, because your brickbat won't come out on the paper like the original, drop it, wait for your patience-reservoir to fill up, and take for your next copy a log, a tree trunk, or anything else.
You say that you should go to a teacher of this or that art, so that you can become " properly grounded in its principles," and that, by such teacher's aid, you shall avoid blundering and stumbling along, making little or no progress.
Take up any trade, any handicraft, any art, all by yourself, and grope along in it by yourself for a few weeks, and at the end of that time you will have many well-defined and intelligent questions to ask about it, of someone more experienced in it than yourself,--the teacher. That is the time to go to the teacher. The teacher should come in when an interest in the art or study is awakened. To have him before, is like answering questions before they are asked.
You cannot teach a dog to paint. The intelligence using the dog's organisation has not grown to an appreciation of such imitation of natural objects. But you can teach him to draw a cart, to "point" to game in the cover, to swim out to the water-fowl you have shot, and bring it to you. Why? Because the dog has these instincts, or desires, born in him. The trainer, his teacher, brings them out. Some men and women have no more admiration for a beautiful landscape than the dog. Of course, neither can ever be taught to paint, because they have not the desire to paint, nor the admiration of the thing to be painted.
"Then, whatever a man or woman really desires to do, is to be taken as some proof that they can do it? " you ask. "Yes; that is the exact idea." Desire to accomplish is a proof of ability to accomplish. Of course, such ability may be weighted down and kept back by many causes, such as ill-health of body, ill-health of mind, unfavourable surroundings, and, perhaps, greatest of all, utter ignorance that such desire is a proof of the possession of power to accomplish the thing desired.
How did you learn to walk, and how did you learn to talk? Could anyone have taught you, if desire to walk and talk had not been born with you? Did you go to a walking teacher, or a talking teacher? Did you not learn both accomplishments after ten thousand failures? So far as you can remember, was it not rather an amusement than otherwise, to learn both, or at least, was there any idea of work associated with these early efforts?
You place a boy or girl by the water-side, and give them full liberty, and they will learn to swim as naturally as they learn to walk, because the desire to swim is in them. If, after learning, they see a better swimmer, they will naturally try to imitate him; and all this endeavour, from first to last, will be for them far more recreation than work. The better swimmer who comes along represents the teacher; and the boy and girl who can already swim fairly well, and are anxious to swim better, represent pupils who are in a condition to be taught.
Think for a moment, how much it was necessary to teach your body in training it to walk. First, to balance yourself upright on two feet without falling. Secondly, to balance yourself on one foot without falling. Thirdly, to move the body. Fourthly, to give it the direction in which you wanted to go. And yet we call walking a "mechanical," and not a mental, effort.
If you are determined to paint, and love the creations of nature and art well enough to try and imitate them, you will be constantly studying effects in light and shade on rocks, stones, cliffs, towers,
