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。