Itmustbeacknowledgedlikewise，thattogetherwiththese，whichwewishhehadmoreattendedto，hehasrejectedallthefalsethoughspeciousornamentswhichdisgracetheworksevenofthemostesteemedartists;andIwillventuretosay，thatwhenthosehigherexcellencesaremoreknownandcultivatedbytheartistsandthepatronsofarts，hisfameandcreditwillincreasewithourincreasingknowledge。HisnamewillthenbeheldinthesamevenerationasitwasintheenlightenedageofLeotheTenth：anditisremarkablethatthereputationofthistrulygreatmanhasbeencontinuallydecliningastheartitselfhasdeclined。ForI
　　mustremarktoyou，thatithaslongbeenmuchonthedecline，andthatouronlyhopeofitsrevivalwillconsistinyourbeingthoroughlysensibleofitsdepravationanddecay。ItistoMichaelAngelothatweoweeventheexistenceofRaffaelle;itistohimRaffaelleowesthegrandeurofhisstyle。Hewastaughtbyhimtoelevatehisthoughts，andtoconceivehissubjectswithdignity。
　　Hisgenius，however，formedtoblazeandtoshine，might，likefireincombustiblematter，foreverhavelaindormantifithadnotcaughtasparkbyitscontactwithMichaelAngelo：andthoughitneverburstoutwiththatextraordinaryheatandvehemence，yetitmustbeacknowledgedtobeamorepure，regular，andchasteflame。
　　ThoughourjudgmentwilluponthewholedecideinfavourofRaffaelle：yethenevertakesthatfirmholdandentirepossessionofthemindinsuchamannerastodesirenothingelse，andfeelnothingwanting。TheeffectofthecapitalworksofMichaelAngeloperfectlycorrespondtowhatBourchardonsaidhefeltfromreadingHomer。Hiswholeframeappearedtohimselftobeenlarged，andallnaturewhichsurroundedhimdiminishedtoatoms。
　　Ifweputthosegreatartistsinalightofcomparisonwitheachother，Raffaellehadmoretasteandfancy，MichaelAngelomoregeniusandimagination。Theoneexcelledinbeauty，theotherinenergy。MichaelAngelohasmoreofthepoeticalinspiration;hisideasarevastandsublime;hispeopleareasuperiororderofbeings;thereisnothingaboutthem，nothingintheairoftheiractionsortheirattitudes，orthestyleandcastoftheirverylimbsorfeatures，thatputsoneinmindoftheirbelonging，toourownspecies。Raffaelle’simaginationisnotsoelevated;hisfiguresarenotsomuchdisjoinedfromourowndiminutiveraceofbeings，thoughhisideasarechaste，noble，andofgreatconformitytotheirsubjects。MichaelAngelo’sworkshaveastrong，peculiar，andmarkedcharacter;theyseemtoproceedfromhisownmindentirely，andthatmindsorichandabundant，thatheneverneeded，orseemedtodisdain，tolookabroadforforeignhelp。Raffaelle’smaterialsaregenerallyborrowed，thoughthenoblestructureishisown。Theexcellencyofthisextraordinarymanlayinthepropriety，beauty，andmajestyofhischaracters，hisjudiciouscontrivanceofhiscomposition，correctnessofdrawing，purityoftaste，andtheskilfulaccommodationofothermen’sconceptionstohisownpurpose。Nobodyexcelledhiminthatjudgment，withwhichheunitedtohisownobservationsonnaturetheenergyofMichaelAngelo，andthebeautyandsimplicityoftheantique。Tothequestion，therefore，whichoughttoholdthefirstrank，RaffaelleorMichaelAngelo，itmustbeanswered，thatifitistobegiventohimwhopossessedagreatercombinationofthehigherqualitiesoftheartthananyotherman，thereisnodoubtbutRaffaelleisthefirst。Butif，accordingtoLonginus，thesublime，beingthehighestexcellencethathumancompositioncanattainto，abundantlycompensatestheabsenceofeveryotherbeauty，andatonesforallotherdeficiencies，thenMichaelAngelodemandsthepreference。
　　Thesetwoextraordinarymencarriedsomeofthehigherexcellencesofthearttoagreaterdegreeofperfectionthanprobablytheyeverarrivedatbefore。Theycertainlyhavenotbeenexcelled，norequalledsince。Manyoftheirsuccessorswereinducedtoleavethisgreatroadasabeatenpath，endeavouringtosurpriseandpleasebysomethinguncommonornew。Whenthisdesireafternoveltyhasproceededfrommereidlenessorcaprice，itisnotworththetroubleofcriticism;butwhenithasbeeninconsequenceofabusymindofapeculiarcomplexion，itisalwaysstrikingandinteresting，neverinsipid。
　　Suchisthegreatstyleasitappearsinthosewhopossesseditatitsheight;inthis，searchafternoveltyinconceptionorintreatingthesubjecthasnoplace。
　　Butthereisanotherstyle，which，thoughinferiortotheformer，hasstillgreatmerit，becauseitshowsthatthosewhocultivateditweremenoflivelyandvigorousimagination。ThisIcalltheoriginalorcharacteristicalstyle;this，beinglessreferredtoanytruearchitypeexistingeitheringeneralorparticularnature，mustbesupportedbythepainter’sconsistencyintheprincipleshehasassumed，andintheunionandharmonyofhiswholedesign。Theexcellencyofeverystyle，butIthinkofthesubordinateonesmoreespecially，willverymuchdependonpreservingthatunionandharmonybetweenallthecomponentparts，thattheyappeartohangwelltogether，asifthewholeproceededfromonemind。Itisintheworksofart，asinthecharactersofmen。Thefaultsordefectsofsomemenseemtobecomethemwhentheyappeartobethenaturalgrowth，andofapiecewiththerestoftheircharacter。A
　　faithfulpictureofamind，thoughitbenotofthemostelevatedkind，thoughitbeirregular，wild，andincorrect，yetifitbemarkedwiththatspiritandfirmnesswhichcharacterisesworksofgenius，willclaimattention，andbemorestrikingthanacombinationofexcellencesthatdonotseemtohangwelltogether，orwemaysaythanaworkthatpossessesevenallexcellences，butthoseinamoderatedegree。
　　Oneofthestrongestmarkedcharactersofthiskind，whichmustbeallowedtobesubordinatetothegreatstyle，isthatofSalvatorRosa。Hegivesusapeculiarcastofnature，which，thoughvoidofallgrace，elegance，andsimplicity;thoughithasnothingofthatelevationanddignitywhichbelongstothegrandstyle，yethasthatsortofdignitywhichbelongstosavageanduncultivatednature。Butwhatismosttobeadmiredinhimistheperfectcorrespondencewhichheobservedbetweenthesubjectswhichhechose，andhismanneroftreatingthem。Everythingisofapiece：
　　hisrocks，trees，sky，eventohishandlinghavethesamerudeandwildcharacterwhichanimateshisfigures。
　　TohimwemaycontrastthecharacterofCarloMaratti，who，inmyownopinion，hadnogreatvigourofmindorstrengthoforiginalgenius。Herarelyseizestheimaginationbyexhibitingthehigherexcellences，nordoeshecaptivateusbythatoriginalitywhichattendsthepainterwhothinksforhimself。Heknewandpractisedalltherulesofart，andfromacompositionofRaffaelle，Caracci，andGuido，madeupastyle，ofwhichitsonlyfaultwas，thatithadnomanifestdefectsandnostrikingbeauties，andthattheprinciplesofhiscompositionareneverblendedtogether，soastoformoneuniformbody，originalinitskind，orexcellentinanyview。
　　Iwillmentiontwootherpainterswho，thoughentirelydissimilar，yetbybeingeachconsistentwithhimself，andpossessingamannerentirelyhisown，havebothgainedreputation，thoughforveryoppositeaccomplishments。
　　ThepaintersImeanareRubensandPoussin。RubensImentioninthisplace，asIthinkhimaremarkableinstanceofthesamemindbeingseeninallthevariouspartsoftheart。Thewholeissomuchofapiecethatonecanscarcebebroughttobelievebutthatifanyoneofthemhadbeenmorecorrectandperfect，hisworkswouldnotbesocompleteastheynowappear。Ifweshouldallowagreaterpurityandcorrectnessofdrawing，hiswantofsimplicityincomposition，colouring，anddraperywouldappearmoregross。
　　Inhiscompositionhisartistooapparent。Hisfigureshaveexpression，andactwithenergy，butwithoutsimplicityordignity。
　　Hiscolouring，inwhichheiseminentlyskilled，is，notwithstanding，toomuchofwhatwecalltinted。Throughoutthewholeofhisworksthereisaproportionablewantofthatnicetyofdistinctionandeleganceofmindwhichisrequiredinthehigherwalksofpainting;andtothiswantitmaybeinsomedegreeascribedthatthosequalitieswhichmaketheexcellencyofthissubordinatestyleappearinhimwiththeirgreatestlustre。
　　Indeed，thefacilitywithwhichheinvented，therichnessofhiscomposition，theluxuriantharmonyandbrilliancyofhiscolouring，sodazzletheeye，thatwhilsthisworkscontinuebeforeuswecannothelpthinkingthatallhisdeficienciesarefullysupplied。
　　Opposedtothisflorid，careless，loose，andinaccuratestyle，thatofthesimple，careful，pure，andcorrectstyleofPoussinseemstobeacompletecontrast。
　　Yethoweveroppositetheircharacters，inonethingtheyagreed，bothofthemhavingaperfectcorrespondencebetweenallthepartsoftheirrespectivemanners。
　　Oneisnotsurebuteveryalterationofwhatisconsideredasdefectiveineither，woulddestroytheeffectofthewhole。
　　Poussinlivedandconversedwiththeancientstatuessolong，thathemaybesaidtobebetteracquaintedwiththenthanwiththepeoplewhowereabouthim。Ihaveoftenthoughtthathecarriedhisvenerationforthemsofarastowishtogivehisworkstheairofancientpaintings。Itiscertainhecopiedsomeoftheantiquepaintings，particularlythe"MarriageintheAlbrobrandiniPalaceatRome，"whichIbelievetobethebestreliqueofthoseremoteagesthathasyetbeenfound。
　　NoworksofanymodernhassomuchoftheairofantiquepaintingasthoseofPoussin。Hisbestperformanceshavearemarkabledrynessofmanner，which，thoughbynomeanstoberecommendedforimitation，yetseemsperfectlycorrespondenttothatancientsimplicitywhichdistinguisheshisstyle。LikePolidorohestudiedthemsomuch，thatheacquiredahabitofthinkingintheirway，andseemedtoknowperfectlytheactionsandgesturestheywoulduseoneveryoccasion。
　　Poussininthelatterpartofhislifechangedfromhisdrymannertoonemuchsofterandricher，wherethereisagreaterunionbetweenthefiguresandtheground，suchasthe"SevenSacraments"
　　intheDukeofOrleans’collection;butneitherthese，noranyinthismanner，areatallcomparabletomanyinhisdrymannerwhichwehaveinEngland。
　　ThefavouritesubjectsofPoussinwereancientfables;andnopainterwaseverbetterqualifiedtopaintsuchsubjects，notonlyfromhisbeingeminentlyskilledintheknowledgeofceremonies，customs，andhabitsoftheancients，butfromhisbeingsowellacquaintedwiththedifferentcharacterswhichthosewhoinventedthemgavetheirallegoricalfigures。ThoughRubenshasshowngreatfancyinhisSatyrs，Silenuses，andFauns，yettheyarenotthatdistinctseparateclassofbeingswhichiscarefullyexhibitedbytheancientsandbyPoussin。Certainlywhensuchsubjectsofantiquityarerepresented，nothinginthepictureoughttoremindusofmoderntimes。Themindisthrownbackintoantiquity，andnothingoughttobeintroducedthatmaytendtoawakenitfromtheillusion。
　　Poussinseemedtothinkthatthestyleandthelanguageinwhichsuchstoriesaretoldisnottheworseforpreservingsomerelishoftheoldwayofpaintingwhichseemedtogiveageneraluniformitytothewhole，sothatthemindwasthrownbackintoantiquitynotonlybythesubject，buttheexecution。
　　IfPoussin，inimitationoftheancients，representsApollodrivinghischariotoutoftheseabywayofrepresentingthesunrising，ifhepersonifieslakesandrivers，itisnowaysoffensiveinhim;
　　butseemsperfectlyofapiecewiththegeneralairofthepicture。
　　Onthecontrary，ifthefigureswhichpeoplehispictureshadamodernairorcountenance，iftheyappearedlikeourcountrymen，ifthedraperieswerelikeclothorsilkofourmanufacture，ifthelandscapehadtheappearanceofamodernview，howridiculouswouldApolloappearinsteadofthesun，anoldmanoranymphwithanurninsteadofariverorlake。
　　Icannotavoidmentioninghereacircumstanceinportraitpaintingwhichmayhelptoconfirmwhathasbeensaid。
　　Whenaportraitispaintedinthehistoricalstyle，asitisneitheranexactminuterepresentationofanindividualnorcompletelyideal，everycircumstanceoughttocorrespondtothismixture。Thesimplicityoftheantiqueairandattitude，howevermuchtobeadmired，isridiculouswhenjoinedtoafigureinamoderndress。Itisnottomypurposetoenterintothequestionatpresent，whetherthismixedstyleoughttobeadoptedornot;
　　yetifitischosenitisnecessaryitshouldbecompleteandallofapiece：thedifferenceofstuffs，forinstance，whichmaketheclothing，shouldbedistinguishedinthesamedegreeastheheaddeviatesfromageneralidea。
　　Withoutthisunion，whichIhavesooftenrecommended，aworkcanhavenomarkedanddeterminedcharacter，whichisthepeculiarandconstantevidenceofgenius。Butwhenthisisaccomplishedtoahighdegree，itbecomesinsomesortarivaltothatstylewhichwehavefixedasthehighest。
　　ThusIhavegivenasketchofthecharactersofRubensandSalvatorRosa，astheyappeartometohavethegreatestuniformityofmindthroughouttheirwholework。Butwemayaddtothese，alltheseartistswhoareattheheadoftheclass，andhavehadaschoolofimitatorsfromMichaelAngelodowntoWatteau。Uponthewholeitappearsthatsettingasidetheornamentalstyle，therearetwodifferentpaths，eitherofwhichastudentmaytakewithoutdegradingthedignityofhisart。Thefirstistocombinethehigherexcellencesandembellishthemtothegreatestadvantage。
　　Theotheristocarryoneoftheseexcellencestothehighestdegree。Butthosewhopossessneithermustbeclassedwiththem，who，asShakespearesays，aremenofnomarkorlikelihood。
　　IinculcateasfrequentlyasIcanyourformingyourselvesupongreatprinciplesandgreatmodels。Yourtimewillbemuchmisspentineveryotherpursuit。Smallexcellencesshouldbeviewed，notstudied;theyoughttobeviewed，becausenothingoughttoescapeapainter’sobservation，butfornootherreason。
　　ThereisanothercautionwhichIwishtogiveyou。Beasselectinthosewhomyouendeavourtoplease，asinthosewhomyouendeavourtoimitate。Withouttheloveoffameyoucanneverdoanythingexcellent;butbyanexcessiveandundistinguishingthirstafterit，youwillcometohavevulgarviews;youwilldegradeyourstyle;andyourtastewillbeentirelycorrupted。Itiscertainthattheloweststylewillbethemostpopular，asitfallswithinthecompassofignoranceitself;andthevulgarwillalwaysbepleasedwithwhatisnaturalintheconfinedandmisunderstoodsenseoftheword。
　　Onewouldwishthatsuchdepravationoftasteshouldbecounteracted，withsuchmanlyprideasEuripidesexpressedtotheAthenians，whocriticisedhisworks，"Idonotcompose，"sayshe，"myworksinordertobecorrectedbyyou，buttoinstructyou。"
　　Itistrue，tohavearighttospeakthus，amanmustbeaEuripides。However，thusmuchmaybeallowed，thatwhenanartistissurethatheisuponfirmground，supportedbytheauthorityandpracticeofhispredecessorsofthegreatestreputation，hemaythenassumetheboldnessandintrepidityofgenius;atanyrate，hemustnotbetemptedoutoftherightpathbyanytideofpopularitythatalwaysaccompaniesthelowerstylesofpainting。
　　Imentionthis，becauseourexhibitions，thatproducesuchadmirableeffectsbynourishingemulation，andcallingoutgenius，havealsoamischievoustendencybyseducingthepaintertoanambitionofpleasingindiscriminatelythemixedmultitudeofpeoplewhoresorttothem。
　　ADISCOURSE
　　DeliveredtotheStudentsoftheRoyalAcademyontheDistributionofthePrizes，December10，1774，bythePresident。
　　Gentlemen，——WhenIhavetakenthelibertyofaddressingyouonthecourseandorderofyourstudies，Ineverproposedtoenterintoaminutedetailoftheart。ThisIhavealwayslefttotheseveralprofessors，whopursuetheendofourinstitutionwiththehighesthonourtothemselves，andwiththegreatestadvantagetothestudents。
　　MypurposeinthediscoursesIhaveheldintheAcademyistolaydowncertaingeneralideas，whichseemtomeproperfortheformationofasoundtaste;principlesnecessarytoguardthepupilsagainstthoseerrorsintowhichthesanguinetempercommonattheirtimeoflife，hasatendencytoleadthem，andwhichhaverenderedabortivethehopesofsomanysuccessionsofpromisingyoungmeninallpartsofEurope。
　　Iwish，also，tointerceptandsuppressthoseprejudiceswhichparticularlyprevailwhenthemechanismofpaintingiscometoitsperfection，andwhichwhentheydoprevailarecertaintoprevailtotheutterdestructionofthehigherandmorevaluablepartsofthisliterateandliberalprofession。
　　Thesetwohavebeenmyprincipalpurposes;theyarestillasmuchmyconcernasever;andifIrepeatmyownideasonthesubject，youwhoknowhowfastmistakeandprejudice，whenneglected，gaingroundupontruthandreason，willeasilyexcuseme。Ionlyattempttosetthesamethinginthegreatestvarietyoflights。
　　Thesubjectofthisdiscoursewillbeimitation，asfarasapainterisconcernedinit。ByimitationIdonotmeanimitationinitslargestsense，butsimplythefollowingofothermasters，andtheadvantagetobedrawnfromthestudyoftheirworks。
　　Thosewhohaveundertakentowriteonourart，andhaverepresenteditasakindofinspiration，asagiftbestoweduponpeculiarfavouritesattheirbirth，seemtoensureamuchmorefavourabledispositionfromtheirreaders，andhaveamuchmorecaptivatingandliberalair，thanhewhogoesabouttoexamine，coldly，whetherthereareanymeansbywhichthisartmaybeacquired;howourmindmaybestrengthenedandexpanded，andwhatguideswillshowthewaytoeminence。
　　Itisverynaturalforthosewhoareunacquaintedwiththecauseofanythingextraordinarytobeastonishedattheeffect，andtoconsideritasakindofmagic。They，whohaveneverobservedthegradationbywhichartisacquired，whoseeonlywhatisthefullresultoflonglabourandapplicationofaninfinitenumber，andinfinitevarietyofacts，areapttoconcludefromtheirentireinabilitytodothesameatonce，thatitisnotonlyinaccessibletothemselves，butcanbedonebythoseonlywhohavesomegiftofthenatureofinspirationbestoweduponthem。
　　ThetravellersintotheEasttellusthatwhentheignorantinhabitantsofthesecountriesareaskedconcerningtheruinsofstatelyedificesyetremainingamongstthem，themelancholymonumentsoftheirformergrandeurandlong-lostscience，theyalwaysanswerthattheywerebuiltbymagicians。Theuntaughtmindfindsavastgulfbetweenitsownpowersandtheseworksofcomplicatedartwhichitisutterlyunabletofathom。Anditsupposesthatsuchavoidcanbepassedonlybysupernaturalpowers。
　　And，asforartiststhemselves，itisbynomeanstheirinteresttoundeceivesuchjudges，howeverconscioustheymaybeoftheverynaturalmeansbywhichtheextraordinarypowerswereacquired;ourartbeingintrinsicallyimitative，rejectsthisideaofinspirationmore，perhaps，thananyother。
　　Itistoavoidthisplainconfessionoftruth，asitshouldseem，thatthisimitationofmasters——indeed，almostallimitationwhichimpliesamoreregularandprogressivemethodofattainingtheendsofpainting——haseverbeenparticularlyinveighedagainstwithgreatkeenness，bothbyancientandmodernwriters。
　　Toderiveallfromnativepower，toowenothingtoanother，isthepraisewhichmen，whodonotmuchthinkwhattheyaresaying，bestowsometimesuponothers，andsometimesonthemselves;andtheirimaginarydignityisnaturallyheightenedbyasuperciliouscensureofthelow，thebarren，thegrovelling，theservileimitator。Itwouldbenowonderifastudent，frightenedbytheseterrorsanddisgracefulepithets，withwhichthepoorimitatorsaresooftenloaded，shouldletfallhispencilinmeredespair，conscioushowmuchhehasbeenindebtedtothelaboursofothers，howlittle，howverylittleofhisartwasbornwithhim;and，consideringitashopeless，tosetaboutacquiringbytheimitationofanyhumanmasterwhatheistaughttosupposeismatterofinspirationfromheaven。
　　Someallowancemustbemadeforwhatissaidinthegaietyorambitionofrhetoric。Wecannotsupposethatanyonecanreallymeantoexcludeallimitationofothers。Apositionsowildwouldscarcedeserveaseriousanswer，foritisapparent，ifwewereforbidtomakeuseoftheadvantageswhichourpredecessorsaffordus，theartwouldbealwaystobegin，andconsequentlyremainalwaysinitsinfantstate;anditisacommonobservationthatnoartwaseverinventedandcarriedtoperfectionatthesametime。
　　Buttobringusentirelytoreasonandsobriety，letitbeobserved，thatapaintermustnotonlybeofnecessityanimitatoroftheworksofnature，whichaloneissufficienttodispelthisphantomofinspiration，buthemustbeasnecessarilyanimitatoroftheworksofotherpainters。Thisappearsmorehumiliating，butitisequallytrue;andnomancanbeanartist，whateverhemaysuppose，uponanyotherterms。
　　However，thosewhoappearmoremoderateandreasonableallowthatstudyistobeginbyimitation，butthatweshouldnolongerusethethoughtsofourpredecessorswhenwearebecomeabletothinkforourselves。Theyholdthatimitationisashurtfultothemoreadvancedstudentasitwasadvantageoustothebeginner。
　　Formyownpart，IconfessIamnotonlyverymuchdisposedtolaydowntheabsolutenecessityofimitationinthefirststagesoftheart，butamofopinionthatthestudyofothermasters，whichI
　　herecallimitation，maybeextendedthroughoutourwholelifewithoutanydangeroftheinconvenienceswithwhichitischarged，ofenfeeblingthemind，orpreventingusfromgivingthatoriginalairwhicheveryworkundoubtedlyoughtalwaystohave。
　　Iam，onthecontrary，persuadedthatbyimitationonly，variety，andevenoriginalityofinventionisproduced。
　　Iwillgofurther;evengenius，atleastwhatgenerallyissocalled，isthechildofimitation。Butasthisappearstobecontrarytothegeneralopinion，ImustexplainmypositionbeforeIenforceit。
　　Geniusissupposedtobeapowerofproducingexcellenceswhichareoutofthereachoftherulesofart——apowerwhichnopreceptscanteach，andwhichnoindustrycanacquire。
　　Thisopinionoftheimpossibilityofacquiringthosebeautieswhichstamptheworkwiththecharacterofgenius，supposesthatitissomethingmorefixedthaninrealityitis，andthatwealwaysdo，andeverdidagree，aboutwhatshouldbeconsideredasacharacteristicofgenius。
　　Butthetruthisthatthedegreeofexcellencewhichproclaimsgeniusisdifferentindifferenttimesanddifferentplaces;andwhatshowsittobesoisthatmankindhaveoftenchangedtheiropinionuponthismatter。
　　Whentheartswereintheirinfancy，thepowerofmerelydrawingthelikenessofanyobjectwasconsideredasoneofitsgreatestefforts。
　　Thecommonpeople，ignorantoftheprinciplesofart，talkthesamelanguageeventothisday。Butwhenitwasfoundthateverymancouldbetaughttodothis，andagreatdealmore，merelybytheobservanceofcertainprecepts，thenameofgeniusthenshifteditsapplication，andwasgivenonlytothosewhoaddedthepeculiarcharacteroftheobjecttheyrepresented;tothosewhohadinvention，expression，grace，ordignity;or，inshort，suchqualitiesorexcellencestheproducingofwhichcouldnotthenbetaughtbyanyknownandpromulgatedrules。
　　Weareverysurethatthebeautyofform，theexpressionofthepassions，theartofcomposition，eventhepowerofgivingageneralairofgrandeurtoyourwork，isatpresentverymuchunderthedominionofrules。Theseexcellenceswere，heretofore，consideredmerelyastheeffectsofgenius;andjustly，ifgeniusisnottakenforinspiration，butastheeffectofcloseobservationandexperience。
　　Hewhofirstmadeanyoftheseobservationsanddigestedthem，soastoformaninvariableprincipleforhimselftoworkby，hadthatmerit;butprobablynoonewentveryfaratonce;andgenerallythefirstwhogavethehintdidnotknowhowtopursueitsteadilyandmethodically，atleastnotinthebeginning。Hehimselfworkedonit，andimprovedit;othersworkedmore，andimprovedfarther，untilthesecretwasdiscovered，andthepracticemadeasgeneralasrefinedpracticecanbemade。Howmanymoreprinciplesmaybefixedandascertainedwecannottell;butascriticismislikelytogohandinhandwiththeartwhichisitssubject，wemayventuretosaythatasthatartshalladvance，itspowerswillbestillmoreandmorefixedbyrules。
　　Butbywhateverstridescriticismmaygainground，weneedbeundernoapprehensionthatinventionwilleverbeannihilatedorsubdued，orintellectualenergybebroughtentirelywithintherestraintofwrittenlaw。Geniuswillstillhaveroomenoughtoexpatiate，andkeepalwaysthesamedistancefromnarrowcomprehensionandmechanicalperformance。
　　Whatwenowcallgeniusbegins，notwhererules，abstractedlytaken，end，butwhereknownvulgarandtriteruleshavenolongeranyplace。Itmustofnecessitybethatevenworksofgenius，aswellaseveryothereffect，asitmusthaveitscause，mustlikewisehaveitsrules;itcannotbebychancethatexcellencesareproducedwithanyconstancy，oranycertainty，forthisisnotthenatureofchance，buttherulesbywhichmenofextraordinaryparts，andsuchasarecalledmenofgeniuswork，areeithersuchastheydiscoverbytheirownpeculiarobservation，orofsuchanicetextureasnoteasilytoadmithandlingorexpressinginwords，especiallyasartistsarenotveryfrequentlyskilfulinthatmodeofcommunicatingideas。
　　Unsubstantial，however，astheserulesmayseem，anddifficultasitmaybetoconveytheminwriting，theyarestillseenandfeltinthemindoftheartist，andheworksfromthemwithasmuchcertaintyasiftheywereembodied，asImaysay，uponpaper。Itistruetheserefinedprinciplescannotbealwaysmadepalpable，likethemoregrossrulesofart;yetitdoesnotfollowbutthatthemindmaybeputinsuchatrainthatitshallperceive，byakindofscientificsense，thatproprietywhichwords，particularlywordsofunpractisedwriterssuchasweare，canbutveryfeeblysuggest。
　　Inventionisoneofthegreatmarksofgenius，butifweconsultexperience，weshallfindthatitisbybeingconversantwiththeinventionsofothersthatwelearntoinvent，asbyreadingthethoughtsofotherswelearntothink。
　　Whoeverhassofarformedhistasteastobeabletorelishandfeelthebeautiesofthegreatmastershasgoneagreatwayinhisstudy;for，merelyfromaconsciousnessofthisrelishoftheright，themindswellswithaninwardpride，andisalmostaspowerfullyaffectedasifithaditselfproducedwhatitadmires。
　　Ourheartsfrequentlywarmedinthismannerbythecontactofthosewhomwewishtoresemble，willundoubtedlycatchsomethingoftheirwayofthinking，andweshallreceiveinourownbosomssomeradiationatleastoftheirfireandsplendour。Thatdisposition，whichissostronginchildren，stillcontinueswithus，ofcatchinginvoluntarilythegeneralairandmannerofthosewithwhomwearemostconversant;withthisdifferenceonly，thatayoungmindisnaturallypliableandimitative，butinamoreadvancedstateitgrowsrigid，andmustbewarmedandsoftenedbeforeitwillreceiveadeepimpression。
　　Fromtheseconsiderations，whichalittleofyourreflectionwillcarryagreatwayfurther，itappearsofwhatgreatconsequenceitisthatourmindsshouldbehabituatedtothecontemplationofexcellence，andthat，farfrombeingcontentedtomakesuchhabitsthedisciplineofouryouthonly，weshould，tothelastmomentofourlives，continueasettledintercoursewithallthetrueexamplesofgrandeur。Theirinventionsarenotonlythefoodofourinfancy，butthesubstancewhichsuppliesthefullestmaturityofourvigour。
　　Themindisbutabarrensoil;isasoilsoonexhausted，andwillproducenocrop，oronlyone，unlessitbecontinuallyfertilisedandenrichedwithforeignmatter。
　　Whenwehavehadcontinuallybeforeusthegreatworksofarttoimpregnateourmindswithkindredideas，wearethen，andnottillthen，fittoproducesomething，ofthesamespecies。Webeholdallaboutuswiththeeyesofthesepenetratingobservers，andourminds，accustomedtothinkthethoughtsofthenoblestandbrightestintellects，arepreparedforthediscoveryandselectionofallthatisgreatandnobleinnature。Thegreatestnaturalgeniuscannotsubsistonitsownstock：hewhoresolvesnevertoransackanymindbuthisownwillbesoonreduced，frommerebarrenness，tothepoorestofallimitations;hewillbeobligedtoimitatehimself，andtorepeatwhathehasbeforeoftenrepeated。
　　Whenweknowthesubjectdesignedbysuchmen，itwillneverbedifficulttoguesswhatkindofworkistobeproduced。
　　Itisvainforpaintersorpoetstoendeavourtoinventwithoutmaterialsonwhichthemindmaywork，andfromwhichinventionmustoriginate。Nothingcancomeofnothing。
　　Homerissupposedtobepossessedofallthelearningofhistime。
　　AndwearecertainthatMichaelAngeloandRaffaellewereequallypossessedofallknowledgeintheartwhichwasdiscoverableintheworksoftheirpredecessors。
　　Amindenrichedbyanassemblageofallthetreasuresofancientandmodernartwillbemoreelevatedandfruitfulinresourcesinproportiontothenumberofideaswhichhavebeencarefullycollectedandthoroughlydigested。Therecanbenodoubtthathewhohasthemostmaterialshasthegreatestmeansofinvention;andifhehasnotthepowerofusingthem，itmustproceedfromafeeblenessofintellectorfromtheconfusedmannerinwhichthosecollectionshavebeenlaidupinhismind。
　　Theadditionofothermen’sjudgmentissofarfromweakening，asistheopinionofmany，ourown，thatitwillfashionandconsolidatethoseideasofexcellencewhichlayintheirbirthfeeble，ill-shaped，andconfused，butwhicharefinishedandputinorderbytheauthorityandpracticeofthosewhoseworksmaybesaidtohavebeenconsecratedbyhavingstoodthetestofages。
　　Themind，orgenius，hasbeencomparedtoasparkoffirewhichissmotheredbyaheapoffuelandpreventedfromblazingintoaflame。Thissimile，whichismadeuseofbytheyoungerPliny，maybeeasilymistakenforargumentorproof。
　　Thereisnodangerofthemind’sbeingover-burdenedwithknowledge，orthegeniusextinguishedbyanyadditionofimages;onthecontrary，theseacquisitionsmayaswell，perhapsbetter，becompared，ifcomparisonssignifiedanythinginreasoning，tothesupplyoflivingembers，whichwillcontributetostrengthenthesparkthatwithouttheassociationofmorewouldhavediedaway。
　　Thetruthis，hewhosefeeblenessissuchastomakeothermen’sthoughtsanincumbrancetohimcanhavenoverygreatstrengthofmindorgeniusofhisowntobedestroyed，sothatnotmuchharmwillbedoneatworst。
　　WemayopposetoPlinythegreaterauthorityofCicero，whoiscontinuallyenforcingthenecessityofthismethodofstudy。InhisdialogueonOratoryhemakesCrassussay，thatoneofthefirstandmostimportantpreceptsistochooseapropermodelforourimitation。Hocfitprimuminpreceptismeisutdemonstremusquemimitemur。
　　WhenIspeakofthehabitualimitationandcontinuedstudyofmasters，itisnottobeunderstoodthatIadviseanyendeavourtocopytheexactpeculiarcolourandcomplexionofanotherman’smind;thesuccessofsuchanattemptmustalwaysbelikehiswhoimitatesexactlytheair，manner，andgesturesofhimwhomheadmires。Hismodelmaybeexcellent，butthecopywillberidiculous;thisridiculedoesnotarisefromhishavingimitated，butfromhisnothavingchosentherightmodeofimitation。
　　Itisanecessaryandwarrantablepridetodisdaintowalkservilelybehindanyindividual，howeverelevatedhisrank。Thetrueandliberalgroundofimitationisanopenfield，where，thoughhewhoprecedeshashadtheadvantageofstartingbeforeyou，yetitisenoughtopursuehiscourse;youneednottreadinhisfootsteps，andyoucertainlyhavearighttooutstriphimifyoucan。
　　Nor，whilstIrecommendstudyingtheartfromartists，canIbesupposedtomeanthatnatureistobeneglected？Itakethisstudyinaidandnotinexclusionoftheother。Natureis，andmustbe，thefountainwhichaloneisinexhaustible;andfromwhichallexcellencesmustoriginallyflow。
　　Thegreatuseofstudyingourpredecessorsistoopenthemind，toshortenourlabour，andtogiveustheresultoftheselectionmadebythosegreatmindsofwhatisgrandorbeautifulinnature：herrichstoresareallspreadoutbeforeus;butitisanart，andnoeasyart，toknowhoworwhattochoose，andhowtoattainandsecuretheobjectofourchoice。
　　Thusthehighestbeautyofformmustbetakenfromnature;butitisanartoflongdeductionandgreatexperiencetoknowhowtofindit。
　　Wemustnotcontentourselveswithmerelyadmiringandrelishing;
　　wemustenterintotheprinciplesonwhichtheworkiswrought;
　　thesedonotswimonthesuperficies，andconsequentlyarenotopentosuperficialobservers。
　　Artinitsperfectionisnotostentatious;itlieshid，andworksitseffectitselfunseen。Itistheproperstudyandlabourofanartisttouncoverandfindoutthelatentcauseofconspicuousbeauties，andfromthenceformprinciplesforhisownconduct;suchanexaminationisacontinualexertionofthemind，asgreat，perhaps，asthatoftheartistwhoseworksheisthusstudying。
　　Thesagaciousimitatornotonlyremarkswhatdistinguishesthedifferentmannerorgeniusofeachmaster;heentersintothecontrivanceinthecomposition，howthemassesoflightsaredisposed，themeansbywhichtheeffectisproduced，howartfullysomepartsarelostintheground，othersboldlyrelieved，andhowallthesearemutuallyalteredandinterchangedaccordingtothereasonandschemeofthework。Headmiresnottheharmonyofcolouringalone，butheexaminesbywhatartificeonecolourisafoiltoitsneighbour。Helookscloseintothetints，ofwhatcolourstheyarecomposed，tillhehasformedclearanddistinctideas，andhaslearnttoseeinwhatharmonyandgoodcolouringconsists。Whatislearntinthismannerfromtheworksofothersbecomesreallyourown，sinksdeep，andisneverforgotten;nay，itisbyseizingonthiscluethatweproceedforward，andgetfurtherandfurtherinenlargingtheprincipleandimprovingthepractice。
　　Therecanbenodoubtbuttheartisbetterlearntfromtheworksthemselvesthanfromthepreceptswhichareformedupontheseworks;butifitisdifficulttochoosepropermodelsforimitation，itrequiresnolesscircumspectiontoseparateanddistinguishwhatinthosemodelsweoughttoimitate。
　　Icannotavoidmentioninghere，thoughitisnotmyintentionatpresenttoenterintotheartandmethodofstudy，anerrorwhichstudentsaretooapttofallinto。
　　Hethatisforminghimselfmustlookwithgreatcautionandwarinessonthosepeculiarities，orprominentparts，whichatfirstforcethemselvesuponview，andarethemarks，orwhatiscommonlycalledthemanner，bywhichthatindividualartistisdistinguished。
　　PeculiarmarksIholdtobegenerally，ifnotalways，defects，howeverdifficultitmaybe，whollytoescapethem。
　　Peculiaritiesintheworksofartarelikethoseinthehumanfigure;itisbythemthatwearecognisableanddistinguishedonefromanother，buttheyarealwayssomanyblemishes，which，however，bothintheonecaseandintheother，ceasetoappeardeformitiestothosewhohavethemcontinuallybeforetheireyes。
　　Intheworksofart，eventhemostenlightenedmind，whenwarmedbybeautiesofthehighestkind，willbydegreesfindarepugnancewithinhimtoacknowledgeanydefects;nay，hisenthusiasmwillcarryhimsofarastotransformthemintobeautiesandobjectsofimitation。
　　Itmustbeacknowledgedthatapeculiarityofstyle，eitherfromitsnovelty，orbyseemingtoproceedfromapeculiarturnofmind，oftenescapesblame;onthecontrary，itissometimesstrikingandpleasing;butthisitisvainlabourtoendeavourtoimitate，becausenoveltyandpeculiaritybeingitsonlymerit，whenitceasestobenew，itceasestohavevalue。
　　Amanner，therefore，beingadefect，andeverypainter，howeverexcellent，havingamanner，itseemstofollowthatallkindsoffaults，aswellasbeauties，maybelearnedunderthesanctionofthegreatestauthorities。
　　EventhegreatnameofMichaelAngelomaybeusedtokeepincountenanceadeficiency，orratherneglectofcolouring，andeveryotherornamentalpartoftheart。
　　Iftheyoungstudentisdryandhard，Poussinisthesame。Ifhisworkhasacarelessandunfinishedair，hehasmostoftheVenetianSchooltosupporthim。Ifhemakesnoselectionofobjects，buttakesindividualnaturejustashefindsit，heislikeRembrandt。
　　Ifheisincorrectintheproportionsofhisfigures，Correggiowaslikewiseincorrect。Ifhiscoloursarenotblendedandunited，Rubenswasequallycrude。
　　Inshort，thereisnodefectbutmaybeexcused，ifitisasufficientexcusethatitcanbeimputedtoconsiderableartists;
　　butitmustberememberedthatitwasnotbythesedefectstheyacquiredtheirreputation：theyhavearighttoourpardon，butnottoouradmiration。
　　However，toimitatepeculiaritiesormistakedefectsforbeautiesthatmanwillbemostliablewhoconfineshisimitationtoonefavouritemaster;and，eventhoughhechoosesthebest，andiscapableofdistinguishingtherealexcellencesofhismodel，itisnotbysuchnarrowpracticethatageniusormasteryintheartisacquired。Amanisaslittlelikelytoformatrueideaoftheperfectionoftheartbystudyingasingleartistashewouldbeofproducingaperfectlybeautifulfigurebyanexactimitationofanyindividuallivingmodel。
　　Andasthepainter，bybringingtogetherinonepiecethosebeautieswhicharedispersedamongstagreatvarietyofindividuals，producesafiguremorebeautifulthancanbefoundinnature，sothatartistwhocanuniteinhimselftheexcellencesofthevariouspainters，willapproachnearertoperfectionthananyoneofhismasters。
　　Hewhoconfineshimselftotheimitationofanindividual，asheneverproposestosurpass，soheisnotlikelytoequal，theobjectofimitation。Heprofessesonlytofollow，andhethatfollowsmustnecessarilybebehind。
　　Weshouldimitatetheconductofthegreatartistsinthecourseoftheirstudies，aswellastheworkswhichtheyproduced，whentheywereperfectlyformed。RaffaellebeganbyimitatingimplicitlythemannerofPietroPerugino，underwhomhestudied;sohisfirstworksarescarcetobedistinguishedfromhismaster’s;butsoonforminghigherandmoreextensiveviews，heimitatedthegrandoutlineofMichaelAngelo。HelearntthemannerofusingcoloursfromtheworksofLeonardodaVinciandFratreBartolomeo：toallthisheaddedthecontemplationofalltheremainsofantiquitythatwerewithinhisreach，andemployedotherstodrawforhimwhatwasinGreeceanddistantplaces。Anditisfromhishavingtakensomanymodelsthathebecamehimselfamodelforallsucceedingpainters，alwaysimitating，andalwaysoriginal。
　　IfyourambitionthereforebetoequalRaffaelle，youmustdoasRaffaelledid;takemanymodels，andnottakeevenhimforyourguidealonetotheexclusionofothers。Andyetthenumberisinfiniteofthosewhoseem，ifonemayjudgebytheirstyle，tohaveseennootherworksbutthoseoftheirmaster，orofsomefavouritewhosemanneristheirfirstwishandtheirlast。
　　Iwillmentionafewthatoccurtomeofthisnarrow，confined，illiberal，unscientific，andservilekindofimitators。GuidowasthusmeanlycopiedbyElizabettaSirani，andSimoneCantarini;
　　Poussin，byVerdierandCheron;Parmigiano，byJeronimoMazzuoli;
　　PaoloVeroneseandIacomoBassanhadfortheirimitatorstheirbrothersandsons;PietrodeCortonawasfollowedbyCiroFerriandRomanelli;Rubens，byJacquesJordansandDiepenbeck;Guercino，byhisownfamily，theGennari;CarloMarrattiwasimitatedbyGiuseppeChiariandPietrodaPietri;andRembrandt，byBramer，Eckhout，andFlink。Allthese，towhommaybeaddedamuchlongerlistofpainters，whoseworksamongtheignorantpassforthoseoftheirmasters，arejustlytobecensuredforbarrennessandservility。
　　Toopposetothislistafewthathaveadoptedamoreliberalstyleofimitation：PelegrinoTibaldi，Rosso，andPrimaticiodidnotcoldlyimitate，butcaughtsomethingofthefirethatanimatestheworksofMichaelAngelo。TheCarrachesformedtheirstylefromPelegrinoTibaldi，Correggio，andtheVenetianSchool。
　　Domenichino，Guido，Lanfranco，Albano，Guercino，Cavidone，Schidone，Tiarini，thoughitissufficientlyapparentthattheycamefromtheSchooloftheCarraches，haveyettheappearanceofmenwhoextendedtheirviewsbeyondthemodelthatlaybeforethem，andhaveshownthattheyhadopinionsoftheirown，andthoughtforthemselves，aftertheyhadmadethemselvesmastersofthegeneralprinciplesoftheirschools。
　　LeSeure’sfirstmannerresemblesverymuchthatofhismasterVovet：butashesoonexcelledhim，sohedifferedfromhimineverypartoftheart。CarloMarrattisucceededbetterthanthoseIhavefirstnamed，andIthinkoweshissuperioritytotheextensionofhisviews;besideshismasterAndreaSacchi，heimitatedRaffaelle，Guido，andtheCarraches。Itistrue，thereisnothingverycaptivatinginCarloMarratti;butthisproceededfromwantswhichcannotbecompletelysupplied;thatis，wantofstrengthofparts。Inthis，certainlymenarenotequal，andamancanbringhomewaresonlyinproportiontothecapitalwithwhichhegoestomarket。Carlo，bydiligence，madethemostofwhathehad;buttherewasundoubtedlyaheavinessabouthim，whichextendeditself，uniformlytohisinvention，expression，hisdrawing，colouring，andthegeneraleffectofhispictures。Thetruthis，heneverequalledanyofhispatternsinanyonething，andheaddedlittleofhisown。
　　Butwemustnotrestcontented，eveninthisgeneralstudyofthemoderns;wemusttracebackthearttoitsfountainhead，tothatsourcefromwhencetheydrewtheirprincipalexcellences，themonumentsofpureantiquity。
　　Alltheinventionsandthoughtsoftheancients，whetherconveyedtousinstatues，bas-reliefs，intaglios，cameos，orcoins，aretobesoughtafterandcarefullystudied：Thegeniusthathoversoverthesevenerablerelicsmaybecalledthefatherofmodernart。
　　Fromtheremainsoftheworksoftheancientsthemodernartswererevived，anditisbytheirmeansthattheymustberestoredasecondtime。Howeveritmaymortifyourvanity，wemustbeforcedtoallowthemourmasters;andwemayventuretoprophecy，thatwhentheyshallceasetobestudied，artswillnolongerflourish，andweshallagainrelapseintobarbarism。
　　Thefireoftheartist’sowngeniusoperatinguponthesematerialswhichhavebeenthusdiligentlycollected，willenablehimtomakenewcombinations，perhaps，superiortowhathadeverbeforebeeninthepossessionoftheart。Asinthemixtureofthevarietyofmetals，whicharesaidtohavebeenmeltedandruntogetherattheburningofCorinth，anewandtillthenunknownmetalwasproducedequalinvaluetoanyofthosethathadcontributedtoitscomposition。Andthoughacuriousrefinermaycomewithhiscrucibles，analyseandseparateitsvariouscomponentparts，yetCorinthianbrasswouldstillholditsrankamongstthemostbeautifulandvaluableofmetals。
　　Wehavehithertoconsideredtheadvantagesofimitationasittendstoformthetaste，andasapracticebywhichasparkofthatgeniusmaybecaughtwhichilluminesthesenobleworks，thatoughtalwaystobepresenttoourthoughts。
　　Wecomenowtospeakofanotherkindofimitation;theborrowingaparticularthought，anaction，attitude，orfigure，andtransplantingitintoyourownwork：thiswilleithercomeunderthechargeofplagiarism，orbewarrantable，anddeservecommendation，accordingtotheaddresswithwhichitisperformed。
　　Thereissomedifferencelikewisewhetheritisupontheancientsorthemodernsthatthesedepredationsaremade。Itisgenerallyallowedthatnomanneedbeashamedofcopyingtheancients：theirworksareconsideredasamagazineofcommonproperty，alwaysopentothepublic，whenceeverymanhasarighttowhatmaterialshepleases;andifhehastheartofusingthem，theyaresupposedtobecometoallintentsandpurposeshisownproperty。
　　ThecollectionwhichRaffaellemadeofthethoughtsoftheancientswithsomuchtrouble，isaproofofhisopiniononthissubject。
　　Suchcollectionsmaybemadewithmuchmoreease，bymeansofanartscarceknowninhistime;Imeanthatofengraving，bywhich，ataneasyrate，everymanmaynowavailhimselfoftheinventionsofantiquity。
　　Itmustbeacknowledgedthattheworksofthemodernsaremorethepropertyoftheirauthors;hewhoborrowsanideafromanartist，orperhapsfromamodern，nothiscontemporary，andsoaccommodatesittohisownworkthatitmakesapartofit，withnoseamorjoiningappearing，canhardlybechargedwithplagiarism;poetspractisethiskindofborrowingwithoutreserve。Butanartistshouldnotbecontentedwiththisonly;heshouldenterintoacompetitionwithhisoriginal，andendeavourtoimprovewhatheisappropriatingtohisownwork。Suchimitationissofarfromhavinganythinginitoftheservilityofplagiarism，thatitisaperpetualexerciseofthemind，acontinualinvention。
　　BorrowingorstealingwithsuchartandcautionwillhavearighttothesamelenityaswasusedbytheLacedemonians;whodidnotpunishtheft，butthewantofartificetoconcealit。
　　Inordertoencourageyoutoimitation，totheutmostextent，letmeadd，thatveryfinishedartistsintheinferiorbranchesoftheartwillcontributetofurnishthemindandgivehintsofwhichaskilfulpainter，whoissensibleofwhathewants，andisinnodangerofbeinginfectedbythecontactofviciousmodels，willknowhowtoavailhimself。Hewillpickupfromdunghillswhatbyanicechemistry，passingthroughhisownmind，shallbeconvertedintopuregold;and，undertherudenessofGothicessays，hewillfindoriginal，rational，andevensublimeinventions。
　　IntheluxuriantstyleofPaulVeronese，inthecapriciouscompositionsofTintoret，hewillfindsomethingthatwillassisthisinvention，andgivepoints，fromwhichhisownimaginationshallriseandtakeflight，whenthesubjectwhichhetreatswill，withpropriety，admitofsplendideffects。
　　Ineveryschool，whetherVenetian，French，orDutch，hewillfindeitheringeniouscompositions，extraordinaryeffects，somepeculiarexpressions，orsomemechanicalexcellence，wellworthyhisattentionand，insomemeasure，ofhisimitation;eveninthelowerclassoftheFrenchpainters，greatbeautiesareoftenfoundunitedwithgreatdefects。
　　ThoughCoypelwantedasimplicityoftaste，andmistookapresumptuousandassumingairforwhatisgrandandmajestic;yethefrequentlyhasgoodsenseandjudgmentinhismanneroftellinghisstories，greatskillinhiscompositions，andisnotwithoutaconsiderablepowerofexpressingthepassions，Themodernaffectationofgraceinhisworks，aswellasinthoseofBoucheandWatteau，maybesaidtobeseparatedbyaverythinpartitionfromthemoresimpleandpuregraceofCorreggioandParmigiano。
　　AmongsttheDutchpainters，thecorrect，firm，anddeterminedpencil，whichwasemployedbyBamboccioandJanMielonvulgarandmeansubjects，mightwithoutanychangebeemployedonthehighest，towhich，indeed，itseemsmoreproperlytobelong。Thegreateststyle，ifthatstyleisconfinedtosmallfiguressuchasPoussingenerallypainted，wouldreceiveanadditionalgracebytheeleganceandprecisionofpencilsoadmirableintheworksofTeniers。
　　Thoughthisschoolmoreparticularlyexcelledinthemechanismofpainting，yettherearemanywhohaveshowngreatabilitiesinexpressingwhatmustberankedabovemechanicalexcellences。
　　IntheworksofFrankHalstheportraitpaintermayobservethecompositionofaface，thefeatureswellputtogetherasthepaintersexpressit，fromwhenceproceedsthatstrongmarkedcharacterofindividualnaturewhichissoremarkableinhisportraits，andisnottobefoundinanequaldegreeinanyotherpainter。Ifhehadjoinedtothismostdifficultpartoftheartapatienceinfinishingwhathehadsocorrectlyplanned，hemightjustlyhaveclaimedtheplacewhichVandyke，allthingsconsidered，sojustlyholdsasthefirstofportraitpainters。
　　Othersofthesameschoolhaveshowngreatpowerinexpressingthecharacterandpassionsofthosevulgarpeoplewhicharethesubjectsoftheirstudyandattention。Amongstthose，JeanSteinseemstobeoneofthemostdiligentandaccurateobserversofwhatpassedinthosesceneswhichhefrequented，andwhichweretohimanacademy。IcaneasilyimaginethatifthisextraordinarymanhadhadthegoodfortunetohavebeenborninItalyinsteadofHolland，hadhelivedinRomeinsteadofLeyden，andhadbeenblessedwithMichaelAngeloandRaffaelleforhismastersinsteadofBrowerandVanGowen，thatthesamesagacityandpenetrationwhichdistinguishedsoaccuratelythedifferentcharactersandexpressioninhisvulgarfigures，would，whenexertedintheselectionandimitationofwhatwasgreatandelevatedinnature，havebeenequallysuccessful，andhisnamewouldhavebeennowrangedwiththegreatpillarsandsupportersofourart。
　　Menwho，althoughthusbounddownbythealmostinvinciblepowersofearlyhabits，havestillexertedextraordinaryabilitieswithintheirnarrowandconfinedcircle，andhave，fromthenaturalvigouroftheirmind，givensuchaninterestingexpression，suchforceandenergytotheirworks，thoughtheycannotberecommendedtobeexactlyimitated，mayyetinviteanartisttoendeavourtotransfer，byakindofparody，thoseexcellencestohisownworks。
　　WhoeverhasacquiredthepowerofmakingthisuseoftheFlemish，Venetian，andFrenchschoolsisarealgenius，andhassourcesofknowledgeopentohimwhichwerewantingtothegreatartistswholivedinthegreatageofpainting。
　　Tofindexcellenceshoweverdispersed，todiscoverbeautieshoweverconcealedbythemultitudeofdefectswithwhichtheyaresurrounded，canbetheworkonlyofhimwho，havingamindalwaysalivetohisart，hasextendedhisviewstoallagesandtoallschools，andhasacquiredfromthatcomprehensivemasswhichhehasthusgatheredtohimself，awelldigestedandperfectideaofhisart，towhicheverythingisreferred。Likeasovereignjudgeandarbiterofart，heispossessedofthatpresidingpowerwhichseparatesandattractseveryexcellencefromeveryschool，selectsbothfromwhatisgreatandwhatislittle，bringshomeknowledgefromtheeastandfromthewest，makingtheuniversetributarytowardsfurnishinghismindandenrichinghisworkswithoriginalityandvarietyofinventions。
　　ThusIhaveventuredtogivemyopinionofwhatappearstomethetrueandonlymethodbywhichanartistmakeshimselfmasterofhisprofession，whichIholdoughttobeonecontinuedcourseofimitation，thatisnottoceasebutwithourlives。
　　Thosewho，eitherfromtheirownengagementsandhurryofbusiness，orfromindolence，orfromconceitandvanity，haveneglectedlookingoutofthemselves，asfarasmyexperienceandobservationreaches，havefromthattimenotonlyceasedtoadvanceandimproveintheirperformance，buthavegonebackward。Theymaybecomparedtomenwhohavelivedupontheirprincipaltilltheyarereducedtobeggaryandleftwithoutresources。
　　Icanrecommendnothingbetter，therefore，thanthatyouendeavourtoinfuseintoyourworkswhatyoulearnfromthecontemplationoftheworksofothers。Torecommendthishastheappearanceofneedlessandsuperfluousadvice，butithasfallenwithinmyownknowledgethatartists，thoughtheyarenotwantinginasincerelovefortheirart，thoughtheyhavegreatpleasureinseeinggoodpictures，andarewellskilledtodistinguishwhatisexcellentordefectiveinthem，yetgoonintheirownmanner，withoutanyendeavourtogivealittleofthosebeautieswhichtheyadmireinothers，totheirownworks。ItisdifficulttoconceivehowthepresentItalianpainters，wholiveinthemidstofthetreasuresofart，shouldbecontentedwiththeirownstyle。Theyproceedintheircommon-placeinventions，andneverthinkitworthwhiletovisittheworksofthosegreatartistswithwhichtheyaresurrounded。
　　IrememberseveralyearsagotohaveconversedatRomewithanartistofgreatfamethroughoutEurope;hewasnotwithoutaconsiderabledegreeofabilities，butthoseabilitieswerebynomeansequaltohisownopinionofthem。Fromthereputationhehadacquiredhetoofondlyconcludedthathestoodinthesamerank，whencomparedtohispredecessors，asheheldwithregardtohismiserablecontemporaryrivals。
　　InconversationaboutsomeparticularsoftheworksofRaffaelle，heseemedtohave，ortoaffecttohave，averyobscurememoryofthem。HetoldmethathehadnotsethisfootintheVaticanforfifteenyearstogether;thatindeedhehadbeenintreatytocopyacapitalpictureofRaffaelle，butthatthebusinesshadgoneoff;
　　however，iftheagreementhadheld，hiscopywouldhavegreatlyexceededtheoriginal。Themeritofthisartist，howevergreatwemaysupposeit，Iamsurewouldhavebeenfargreater，andhispresumptionwouldhavebeenfarlessifhehadvisitedtheVatican，asinreasonheoughttohavedone，onceatleasteverymonthofhislife。
　　Iaddressmyself，gentlemen，toyouwhohavemadesomeprogressintheart，andaretobeforthefutureundertheguidanceofyourownjudgmentanddiscretionIconsideryouasarrivedtothatperiodwhenyouhavearighttothinkforyourselves，andtopresumethateverymanisfallible;tostudythemasterswithasuspicionthatgreatmenarenotalwaysexemptfromgreatfaults;tocriticise，compare，andranktheirworksinyourownestimation，astheyapproachtoorrecedefromthatstandardofperfectionwhichyouhaveformedinyourownmind，butwhichthosemastersthemselves，itmustberemembered，havetaughtyoutomake，andwhichyouwillceasetomakewithcorrectnesswhenyouceasetostudythem。Itistheirexcellenceswhichhavetaughtyoutheirdefects。
　　Iwouldwishyoutoforgetwhereyouare，andwhoitisthatspeakstoyou。Ionlydirectyoutohighermodelsandbetteradvisers。