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 casts; Bird, who ornamented tea-trays; Martin, who was a coach-painter; Wright and Gilpin, who were ship-painters; Chantrey, who was a carver and gilder; and David Cox, Stanfield, and Roberts, who were scene-painters.

It was not by luck or accident that these men achieved distinction, but by sheer industry and hard work. Though some achieved wealth, yet this was rarely, if ever, the ruling motive. Indeed, no mere love of money could sustain the efforts of the artist in his early career of self-denial and application. The pleasure of the pursuit has always been its best reward; the wealth which followed but an accident. Many noble-minded artists have preferred following the bent of their genius to chaffering with the public for terms. Spagnoletto verified in his life the beautiful fiction of Xenophon, and after he had acquired the means of luxury, preferred withdrawing himself from their influence, and voluntarily returned to poverty and labour. When Michael Angelo was asked his opinion respecting a work which a painter had taken great pains to exhibit for profit, he said, "I think that he will be a poor fellow so long as he shows such an extreme eagerness to become rich."

Like Sir Joshua Reynolds, Michael Angelo was a great believer in the force of labour; and he held that there was nothing which the imagination conceived, that could not be embodied in marble, if the hand were made vigorously to obey the mind. He was himself one of the most indefatigable of workers; and he attributed his power of studying for a greater number of hours than most of his contemporaries to his spare habits of living. A little bread and wine was all he required for the chief