iiS On Painting. 



f<\irh another what they have with difficulty learned, and 

 Jomc few will be found eafy and communicative. 



When we have made ourfelves acquainted with the beau- 

 ties of art, we may confider ourfelves at liberty to aft on our 

 own foundation ; but we are bound to (how in bur works 

 that we aft from an impreflion made on our minds by na- 

 rure, or we (hall never excite fimilar fenfations in the fpec- 

 tator, but ultimately fink into mere mannerifts or imitators. 

 A general likenefs prevailing through the whole of his works 

 mud ftamp the artift a manneffft; we mean not, however, 

 fuch a fimilitude as may happen by chance. The adoption 

 of a grace or an ornament, by no means implies plagiarifm. 

 If they are introduced with fitnefs, there can be no charge of 

 want of judgment. This is very different to ufing a vifible 

 or ftriking part of a composition, which no independent fpirit 

 would (loop to. Representations of antient urns, armour, 

 coftumes, buildings, &c, will be of more value to the ge- 

 nuine artift than even the fineft hiftorical or other composi- 

 tion. A knowledge of the latter he ought to pofTefs before 

 he attempts to compofe, and the utility ot urns, armour, &c, 

 will be obvious. Falling into imitation has produced what 

 has been termed the fcbools, and ultimately proved their 

 ruin ; Nature fufficiently revenges herfelf on thofe who neg- 

 left her. 



In the arts, as in every branch of ftudy, the firft thing we 

 have to learn is what others have done, of, in other words*- 

 the prefent Mate of human knowledge. Without this necef- 

 farv information we (hall (land as children only, and of courfe 

 our improvement will be but flow; befides, we Hia.ll have the 

 mortification of finding our imaginary difcoverics anticipated, 

 and' our labour fruitlefs. Another advantag-e will refult from 

 fuch an inquiry, the learning how much experience is within 

 the reach of diligence. 



Imitation is the firft part of painting, the fecond is a judi- 

 cious feleftion ; but even in the imitative part we muft cau- 

 tibufly fhun objefts deformed and bafe if we hope to poflefs 

 the firft tafte, and onlv copy fuch as will teach us greatnefs, 

 beauty, or accuracy. Such a conduft will enable us to 

 refleft with wifdom, and alfo to difcover the caufe, or from 

 whence arife thofe perfections by which we are moved. If 

 in the courfe of our inquiry \vc find a perfection prevail 

 through the whole of an artift's works fo as to become a 

 chara&er, we may depend on it that was the kind of per- 

 fe ft i£r fought by the mailer; as in M. Angelo, greatnefs of 

 ftyle, knowledge of the figure, and forcmorleniug, in Ra- 

 phael, 



