Wecanteachyouherebutverylittle;youarehenceforthtobeyourownteachers。Dothisjustice，however，totheEnglishAcademy，tobearinmind，thatinthisplaceyoucontractednonarrowhabits，nofalseideas，nothingthatcouldleadyoutotheimitationofanylivingmaster，whomaybethefashionabledarlingoftheday。Asyouhavenotbeentaughttoflatterus，donotlearntoflatteryourselves。Wehaveendeavouredtoleadyoutotheadmirationofnothingbutwhatistrulyadmirable。Ifyouchooseinferiorpatterns，orifyoumakeyourownFORMERworks，yourpatternsforyourLATTER，itisyourownfault。
Thepurposeofthisdiscourse，and，indeed，ofmostofmyothers，istocautionyouagainstthatfalseopinion，buttooprevalentamongstartists，oftheimaginarypowerofnativegenius，anditssufficiencyingreatworks。Thisopinion，accordingtothetemperofminditmeetswith，almostalwaysproduces，eitheravainconfidence，orasluggishdespair，bothequallyfataltoallproficiency。
Study，therefore，thegreatworksofthegreatmastersforever。
Studyasnearlyasyoucan，intheorder，inthemanner，ontheprinciples，onwhichtheystudied。Studynatureattentively，butalwayswiththosemastersinyourcompany;considerthemasmodelswhichyouaretoimitate，andatthesametimeasrivalswhichyouaretocombat。
ADISCOURSE
DeliveredtotheStudentsoftheRoyalAcademyontheDistributionofthePrizes，December10th，1776，bythePresident。
Gentlemen，——Ithasbeenmyuniformendeavour，sinceIfirstaddressedyoufromthisplace，toimpressyoustronglywithonerulingidea。Iwishedyoutobepersuaded，thatsuccessinyourartdependsalmostentirelyonyourownindustry;buttheindustrywhichIprincipallyrecommended，isnottheindustryoftheHANDS，butoftheMIND。
Asourartisnotadivinegift，soneitherisitamechanicaltrade。Itsfoundationsarelaidinsolidscience。Andpractice，thoughessentialtoperfection，canneverattainthattowhichitaims，unlessitworksunderthedirectionofprinciple。
Somewritersuponartcarrythispointtoofar，andsupposethatsuchabodyofuniversalandprofoundlearningisrequisite，thattheveryenumerationofitskindisenoughtofrightenabeginner。
Vitruvius，aftergoingthroughthemanyaccomplishmentsofnature，andthemanyacquirementsoflearning，necessarytoanarchitect，proceedswithgreatgravitytoassertthatheoughttobewellskilledinthecivillaw，thathemaynotbecheatedinthetitleofthegroundhebuildson。
Butwithoutsuchexaggeration，wemaygosofarastoassert，thatapainterstandsinneedofmoreknowledgethanistobepickedoffhispallet，orcollectedbylookingonhismodel，whetheritbeinlifeorinpicture。Hecanneverbeagreatartistwhoisgrosslyilliterate。
Everymanwhosebusinessisdescriptionoughttobetolerablyconversantwiththepoetsinsomelanguageorother，thathemayimbibeapoeticalspiritandenlargehisstockofideas。Heoughttoacquireahabitofcomparinganddivestinghisnotions。Heoughtnottobewhollyunacquaintedwiththatpartofphilosophywhichgiveshimaninsightintohumannature，andrelatestothemanners，characters，passions，andaffections。Heoughttoknowsomethingconcerningthemind，aswellasagreatdealconcerningthebodyofman。
Forthispurpose，itisnotnecessarythatheshouldgointosuchacompassofreading，asmust，bydistractinghisattention，disqualifyhimforthepracticalpartofhisprofession，andmakehimsinktheperformerinthecritic。Reading，ifitcanbemadethefavouriterecreationofhisleisurehours，willimproveandenlargehismindwithoutretardinghisactualindustry。
Whatsuchpartialanddesultoryreadingcannotafford，maybesuppliedbytheconversationoflearnedandingeniousmen，whichisthebestofallsubstitutesforthosewhohavenotthemeansoropportunitiesofdeepstudy。Therearemanysuchmeninthisage;
andtheywillbepleasedwithcommunicatingtheirideastoartists，whentheyseethemcuriousanddocile，iftheyaretreatedwiththatrespectanddeferencewhichissojustlytheirdue。Intosuchsociety，youngartists，iftheymakeitthepointoftheirambition，willbydegreesbeadmitted。There，withoutformalteaching，theywillinsensiblycometofeelandreasonlikethosetheylivewith，andfindarationalandsystematictasteimperceptiblyformedintheirminds，whichtheywillknowhowtoreducetoastandard，byapplyinggeneraltruthtotheirownpurposes，betterperhapsthanthosetowhomtheyowedtheoriginalsentiment。
Ofthesestudiesandthisconversation，thedesiredandlegitimateoffspringisapowerofdistinguishingrightfromwrong，whichpowerappliedtoworksofartisdenominatedtaste。Letmethen，withoutfurtherintroduction，enteruponanexaminationwhethertastebesofarbeyondourreachastobeunattainablebycare，orbesoveryvagueandcapriciousthatnocareoughttobeemployedaboutit。
Ithasbeenthefateofartstobeenvelopedinmysteriousandincomprehensiblelanguage，asifitwasthoughtnecessarythateventhetermsshouldcorrespondtotheideaentertainedoftheinstabilityanduncertaintyoftheruleswhichtheyexpressed。
Tospeakofgeniusandtasteasanywayconnectedwithreasonorcommonsense，wouldbe，intheopinionofsometoweringtalkers，tospeaklikeamanwhopossessedneither，whohadneverfeltthatenthusiasm，or，tousetheirowninflatedlanguage，wasneverwarmedbythatPrometheanfire，whichanimatesthecanvasandvivifiesthemarble。
If，inordertobeintelligible，Iappeartodegradeartbybringingherdownfromhervisionarysituationintheclouds，itisonlytogiveheramoresolidmansionupontheearth。Itisnecessarythatatsometimeorotherweshouldseethingsastheyreallyare，andnotimposeonourselvesbythatfalsemagnitudewithwhichobjectsappearwhenviewedindistinctlyasthroughamist。
Wewillallowapoettoexpresshismeaning，whenhismeaningisnotwellknowntohimself，withacertaindegreeofobscurity，asitisonesourceofthesublime。Butwhen，inplainprose，wegravelytalkofcourtingthemuseinshadybowers，waitingthecallandinspirationofgenius，findingoutwhereheinhabits，andwhereheistobeinvokedwiththegreatestsuccess;ofattendingtotimesandseasonswhentheimaginationshootswiththegreatestvigour，whetheratthesummersolsticeortheequinox，sagaciouslyobservinghowmuchthewildfreedomandlibertyofimaginationiscrampedbyattentiontoestablishedrules，andhowthissameimaginationbeginstogrowdiminadvancedage，smotheredanddeadenedbytoomuchjudgment。Whenwetalksuchlanguage，orentertainsuchsentimentsasthese，wegenerallyrestcontentedwithmerewords，oratbestentertainnotionsnotonlygroundless，butpernicious。
Ifallthismeanswhatitisverypossiblewasoriginallyintendedonlytobemeant，thatinordertocultivateanart，amansecludeshimselffromthecommerceoftheworld，andretiresintothecountryatparticularseasons;orthatatonetimeoftheyearhisbodyisinbetterhealth，andconsequentlyhismindfitterforthebusinessofhardthinkingthanatanothertime;orthatthemindmaybefatiguedandgrowconfusedbylongandunremittedapplication;thisIcanunderstand。Icanlikewisebelievethatamaneminentwhenyoungforpossessingpoeticalimagination，may，fromhavingtakenanotherroad，soneglectitscultivationastoshowlessofitspowersinhislatterlife。ButIampersuadedthatscarceapoetistobefound，fromHomerdowntoDryden，whopreservedasoundmindinasoundbody，andcontinuedpractisinghisprofessiontotheverylast，whoselaterworksarenotasrepletewiththefireofimaginationasthosewhichwereproducedinhismoreyouthfuldays。
Tounderstandliterallythesemetaphorsorideasexpressedinpoeticallanguage，seemstobeequallyabsurdastoconcludethatbecausepainterssometimesrepresentpoetswritingfromthedictatesofalittlewingedboyorgenius，thatthissamegeniusdidreallyinformhiminawhisperwhathewastowrite，andthatheishimselfbutameremachine，unconsciousoftheoperationsofhisownmind。
Opinionsgenerallyreceivedandfloatingintheworld，whethertrueorfalse，wenaturallyadoptandmakeourown;theymaybeconsideredasakindofinheritancetowhichwesucceedandaretenantsforlife，andwhichweleavetoourposterityverynearintheconditioninwhichwereceivedit;notmuchbeinginanyoneman’spowereithertoimpairorimproveit。
Thegreatestpartoftheseopinions，likecurrentcoininitscirculation，weareobligedtotakewithoutweighingorexamining;
butbythisinevitableinattention，manyadulteratedpiecesarereceived，which，whenweseriouslyestimateourwealth，wemustthrowaway。Sothecollectorofpopularopinions，whenheembodieshisknowledge，andformsasystem，mustseparatethosewhicharetruefromthosewhichareonlyplausible。Butitbecomesmorepeculiarlyadutytotheprofessorsofartnottoletanyopinionsrelatingtothatartpassunexamined。Thecautionandcircumspectionrequiredinsuchexaminationweshallpresentlyhaveanopportunityofexplaining。
Geniusandtaste，intheircommonacceptation，appeartobeverynearlyrelated;thedifferenceliesonlyinthis，thatgeniushassuperaddedtoitahabitorpowerofexecution。Orwemaysay，thattaste，whenthispowerisadded，changesitsname，andiscalledgenius。Theyboth，inthepopularopinion，pretendtoanentireexemptionfromtherestraintofrules。Itissupposedthattheirpowersareintuitive;thatunderthenameofgeniusgreatworksareproduced，andunderthenameoftasteanexactjudgmentisgiven，withoutourknowingwhy，andwithoutbeingundertheleastobligationtoreason，precept，orexperience。
Onecanscarcestatetheseopinionswithoutexposingtheirabsurdity，yettheyareconstantlyinthemouthsofmen，andparticularlyofartists。Theywhohavethoughtseriouslyonthissubject，donotcarrythepointsofar;yetIampersuaded，thatevenamongthosefewwhomaybecalledthinkers，theprevalentopiniongiveslessthanitoughttothepowersofreason;andconsiderstheprinciplesoftaste，whichgivealltheirauthoritytotherulesofart，asmorefluctuating，andashavinglesssolidfoundationsthanweshallfind，uponexamination，theyreallyhave。
Thecommonsaying，thattastesarenottobedisputed，owesitsinfluence，anditsgeneralreception，tothesameerrorwhichleadsustoimagineitoftoohighoriginaltosubmittotheauthorityofanearthlytribunal。Itwilllikewisecorrespondwiththenotionsofthosewhoconsideritasamerephantomoftheimagination，sodevoidofsubstanceastoeludeallcriticism。
Weoftenappeartodifferinsentimentsfromeachother，merelyfromtheinaccuracyofterms，aswearenotobligedtospeakalwayswithcriticalexactness。Somethingofthistoomayarisefromwantofwordsinthelanguagetoexpressthemorenicediscriminationswhichadeepinvestigationdiscovers。Agreatdeal，however，ofthisdifferencevanisheswheneachopinionistolerablyexplainedandunderstoodbyconstancyandprecisionintheuseofterms。
Weapplythetermtastetothatactofthemindbywhichwelikeordislike，whateverbethesubject。Ourjudgmentuponanairynothing，afancywhichhasnofoundation，iscalledbythesamenamewhichwegivetoourdeterminationconcerningthosetruthswhichrefertothemostgeneralandmostunalterableprinciplesofhumannature，toworkswhichareonlytobeproducedbythegreatesteffortsofthehumanunderstanding。Howeverinconvenientthismaybe，weareobligedtotakewordsaswefindthem;allwecandoistodistinguishthethingstowhichtheyareapplied。
Wemayletpassthosethingswhichareatoncesubjectsoftasteandsense，andwhichhavingasmuchcertaintyasthesensesthemselves，givenooccasiontoinquiryordispute。Thenaturalappetiteortasteofthehumanmindisfortruth;whetherthattruthresultsfromtherealagreementorequalityoforiginalideasamongthemselves;fromtheagreementoftherepresentationofanyobjectwiththethingrepresented;orfromthecorrespondenceoftheseveralpartsofanyarrangementwitheachother。Itistheverysametastewhichrelishesademonstrationingeometry，thatispleasedwiththeresemblanceofapicturetoanoriginal，andtouchedwiththeharmonyofmusic。
Allthesehaveunalterableandfixedfoundationsinnature，andarethereforeequallyinvestigatedbyreason，andknownbystudy;somewithmore，somewithlessclearness，butallexactlyinthesameway。Apicturethatisunlike，isfalse。Disproportionateordinanceofpartsisnotrightbecauseitcannotbetrueuntilitceasestobeacontradictiontoassertthatthepartshavenorelationtothewhole。Colouringistruewhereitisnaturallyadaptedtotheeye，frombrightness，fromsoftness，fromharmony，fromresemblance;becausetheseagreewiththeirobject，nature，andthereforearetrue：astrueasmathematicaldemonstration;butknowntobetrueonlytothosewhostudythesethings。
Butbesidesreal，thereisalsoapparenttruth，oropinion，orprejudice。Withregardtorealtruth，whenitisknown，thetastewhichconformstoitis，andmustbe，uniform。Withregardtothesecondsortoftruth，whichmaybecalledtruthuponsufferance，ortruthbycourtesy，itisnotfixed，butvariable。However，whilsttheseopinionsandprejudicesonwhichitisfoundedcontinue，theyoperateastruth;andtheart，whoseofficeitistopleasethemind，aswellasinstructit，mustdirectitselfaccordingtoopinion，oritwillnotattainitsend。
Inproportionastheseprejudicesareknowntobegenerallydiffused，orlongreceived，thetastewhichconformstothemapproachesnearertocertainty，andtoasortofresemblancetorealscience，evenwhereopinionsarefoundtobenobetterthanprejudices。Andsincetheydeserve，onaccountoftheirdurationandextent，tobeconsideredasreallytrue，theybecomecapableofnosmalldecreeofstabilityanddeterminationbytheirpermanentanduniformnature。
Astheseprejudicesbecomemorenarrow，morelocal，moretransitory，thissecondarytastebecomesmoreandmorefantastical;
recedesfromrealscience;islesstobeapprovedbyreason，andlessfollowedinpractice;thoughinnocaseperhapstobewhollyneglected，whereitdoesnotstand，asitsometimesdoes，indirectdefianceofthemostrespectableopinionsreceivedamongstmankind。
Havinglaiddownthesepositions，Ishallproceedwithlessmethod，becauselesswillserve，toexplainandapplythem。
Wewilltakeitforgrantedthatreasonissomethinginvariableandfixedinthenatureofthings;andwithoutendeavouringtogobacktoanaccountoffirstprinciples，whichforeverwilleludeoursearch，wewillconcludethatwhatevergoesunderthenameoftaste，whichwecanfairlybringunderthedominionofreason，mustbeconsideredasequallyexemptfromchange。Iftherefore，inthecourseofthisinquiry，wecanshowthattherearerulesfortheconductoftheartistwhicharefixedandinvariable，itimplies，ofcourse，thattheartoftheconnoisseur，or，inotherwords，taste，haslikewiseinvariableprinciples。
Ofthejudgmentwhichwemakeontheworksofart，andthepreferencethatwegivetooneclassofartoveranother，ifareasonbedemanded，thequestionisperhapsevadedbyanswering，\"I
judgefrommytaste\";butitdoesnotfollowthatabetteranswercannotbegiven，thoughforcommongazersthismaybesufficient。
Everymanisnotobligedtoinvestigatethecausesofhisapprobationordislike。
Theartswouldlieopenforevertocapriceandcasualty，ifthosewhoaretojudgeoftheirexcellenceshadnosettledprinciplesbywhichtheyaretoregulatetheirdecisions，andthemeritordefectofperformancesweretobedeterminedbyunguidedfancy。Andindeedwemayventuretoassertthatwhateverspeculativeknowledgeisnecessarytotheartist，isequallyandindispensablynecessarytotheconnoisseur。
Thefirstideathatoccursintheconsiderationofwhatisfixedinart，orintaste，isthatpresidingprincipleofwhichIhavesofrequentlyspokeninformerdiscourses，thegeneralideaofnature。
Thebeginning，themiddle，andtheendofeverythingthatisvaluableintaste，iscomprisedintheknowledgeofwhatistrulynature;forwhateverideasarenotconformabletothoseofnature，oruniversalopinion，mustbeconsideredasmoreorlesscapricious。
Theideaofnaturecomprehendingnotonlytheformswhichnatureproduces，butalsothenatureandinternalfabricandorganisation，asImaycallit，ofthehumanmindandimagination：generalideas，beauty，ornature，arebutdifferentwaysofexpressingthesamething，whetherweapplythesetermstostatues，poetry，orpicture。Deformityisnotnature，butanaccidentaldeviationfromheraccustomedpractice。Thisgeneralideathereforeoughttobecallednature，andnothingelse，correctlyspeaking，hasarighttothatname。Butwearesofarfromspeaking，incommonconversation，withanysuchaccuracy，that，onthecontrary，whenwecriticiseRembrandtandotherDutchpainters，whointroducedintotheirhistoricalpicturesexactrepresentationsofindividualobjectswithalltheirimperfections，wesay，thoughitisnotinagoodtaste，yetitisnature。
Thismisapplicationoftermsmustbeveryoftenperplexingtotheyoungstudent。Isnot，hemaysay，artanimitationofnature？
Musthenot，therefore，whoimitatesherwiththegreatestfidelitybethebestartist？BythismodeofreasoningRembrandthasahigherplacethanRaffaelle。Butaverylittlereflectionwillservetoshowusthattheseparticularitiescannotbenature：forhowcanthatbethenatureofman，inwhichnotwoindividualsarethesame？
Itplainlyappearsthatasaworkisconductedundertheinfluenceofgeneralideasorpartialitisprincipallytobeconsideredastheeffectofagoodorabadtaste。
Asbeautythereforedoesnotconsistintakingwhatliesimmediatelybeforeyou，soneither，inourpursuitoftaste，arethoseopinionswhichwefirstreceivedandadoptedthebestchoice，orthemostnaturaltothemindandimagination。
Intheinfancyofourknowledgeweseizewithgreedinessthegoodthatiswithinourreach;itisbyafter-consideration，andinconsequenceofdiscipline，thatwerefusethepresentforagreatergoodatadistance。Thenobilityorelevationofallarts，liketheexcellenceofvirtueitself，consistsinadoptingthisenlargedandcomprehensiveidea，andallcriticismbuiltuponthemoreconfinedviewofwhatisnatural，mayproperlybecalledshallowcriticism，ratherthanfalse;itsdefectisthatthetruthisnotsufficientlyextensive。
Ithassometimeshappenedthatsomeofthegreatestmeninourarthavebeenbetrayedintoerrorsbythisconfinedmodeofreasoning。
Poussin，who，uponthewhole，maybeproducedasaninstanceofattentiontothemostenlargedandextensiveideasofnature，fromnothavingsettledprinciplesonthispoint，hasinoneinstanceatleast，Ithink，desertedtruthforprejudice。HeissaidtohavevindicatedtheconductofJulioRomano，forhisinattentiontothemassesoflightandshade，orgroupingthefigures，inthebattleofConstantine，asifdesignedlyneglected，thebettertocorrespondwiththehurryandconfusionofabattle。Poussin’sownconductinhisrepresentationsofBacchanaliantriumphsandsacrifices，makesusmoreeasilygivecredittothisreport，sinceinsuchsubjects，aswellindeedasinmanyothers，itwastoomuchhisownpractice。Thebestapologywecanmakeforthisconductiswhatproceedsfromtheassociationofourideas，theprejudicewehaveinfavourofantiquity。Poussin’sworks，asIhaveformerlyobserved，haveverymuchtheairoftheancientmannerofpainting，inwhichtherearenottheleasttracestomakeusthinkthatwhatwecallthekeeping，thecompositionoflightandshade，ordistributionoftheworkintomasses，claimedanypartoftheirattention。Butsurelywhateverapologywemayfindoutforthisneglect，itoughttoberankedamongthedefectsofPoussin，aswellasoftheantiquepaintings;andthemodernshavearighttothatpraisewhichistheirdue，forhavinggivensopleasinganadditiontothesplendouroftheart。
Perhapsnoapologyoughttobereceivedforoffencescommittedagainstthevehicle（whetheritbetheorganofseeingorofhearing）bywhichourpleasuresareconveyedtothemind。Wemusttakethesamecarethattheeyebenotperplexedanddistractedbyaconfusionofequalparts，orequallights，asofoffendingitbyanunharmoniousmixtureofcolours。Wemayventuretobemoreconfidentofthetruthofthisobservation，sincewefindthatShakespeare，onaparalleloccasion，hasmadeHamletrecommendtotheplayersapreceptofthesamekind，nevertooffendtheearbyharshsounds：-\"Intheverytorrent，tempest，andwhirlwindofyourpassions，\"sayshe，\"youmustbegetatemperancethatmaygiveitsmoothness。\"Andyet，atthesametime，heveryjustlyobserves，\"Theendofplaying，bothatthefirstandnow，istohold，asitwere，themirroruptonature。\"Noonecandenybutthatviolentpassionswillnaturallyemitharshanddisagreeabletones;yetthisgreatpoetandcriticthoughtthatthisimitationofnaturewouldcosttoomuch，ifpurchasedattheexpenseofdisagreeablesensations，or，asheexpressesit，of\"splittingtheear。\"Thepoetandactor，aswellasthepainterofgeniuswhoiswellacquaintedwithallthevarietyandsourcesofpleasureinthemindandimagination，haslittleregardorattentiontocommonnature，orcreepingaftercommonsense。Byoverleapingthosenarrowbounds，hemoreeffectuallyseizesthewholemind，andmorepowerfullyaccomplisheshispurpose。Thissuccessisignorantlyimaginedtoproceedfrominattentiontoallrules，andindefianceofreasonandjudgment;whereasitisintruthactingaccordingtothebestrules，andthejustestreason。
Hewhothinksnature，inthenarrowsenseoftheword，isalonetobefollowed，willproducebutascantyentertainmentfortheimagination：everythingistobedonewithwhichitisnaturalforthemindtobepleased，whetheritproceedsfromsimplicityorvariety，uniformityorirregularity：whetherthescenesarefamiliarorexotic;rudeandwild，orenrichedandcultivated;foritisnaturalforthemindtobepleasedwithalltheseintheirturn。Inshort，whateverpleaseshasinitwhatisanalogoustothemind，andistherefore，inthehighestandbestsenseoftheword，natural。
Itisthissenseofnatureortruthwhichoughtmoreparticularlytobecultivatedbytheprofessorsofart;anditmaybeobservedthatmanywiseandlearnedmen，whohaveaccustomedtheirmindstoadmitnothingfortruthbutwhatcanbeprovedbymathematicaldemonstration，haveseldomanyrelishforthoseartswhichaddressthemselvestothefancy，therectitudeandtruthofwhichisknownbyanotherkindofproof：andwemayaddthattheacquisitionofthisknowledgerequiresasmuchcircumspectionandsagacity，astoattainthosetruthswhicharemoreopentodemonstration。Reasonmustultimatelydetermineourchoiceoneveryoccasion;butthisreasonmaystillbeexertedineffectuallybyapplyingtotasteprincipleswhich，thoughrightasfarastheygo，yetdonotreachtheobject。Noman，forinstance，candenythatitseemsatfirstviewveryreasonable，thatastatuewhichistocarrydowntoposteritytheresemblanceofanindividualshouldbedressedinthefashionofthetimes，inthedresswhichhehimselfwore：thiswouldcertainlybetrueifthedresswerepartoftheman。Butafteratimethedressisonlyanamusementforanantiquarian;andifitobstructsthegeneraldesignofthepiece，itistobedisregardedbytheartist。Commonsensemustheregivewaytoahighersense。
Inthenakedform，andinthedispositionofthedrapery，thedifferencebetweenoneartistandanotherisprincipallyseen。Butifheiscompelledtothemoderndress，thenakedformisentirelyhid，andthedraperyisalreadydisposedbytheskillofthetailor。WereaPhidiastoobeysuchabsurdcommands，hewouldpleasenomorethananordinarysculptor;since，intheinferiorpartsofeveryart，thelearnedandtheignorantarenearlyuponalevel。
ThesewereprobablyamongthereasonsthatinducedthesculptorofthatwonderfulfigureofLaocoontoexhibithimnaked，notwithstandinghewassurprisedintheactofsacrificingtoApollo，andconsequentlyoughttobeshowninhissacerdotalhabits，ifthosegreaterreasonshadnotpreponderated。Artisnotyetinsohighestimationwithusastoobtainsogreatasacrificeastheancientsmade，especiallytheGrecians，whosufferedthemselvestoberepresentednaked，whethertheyweregenerals，lawgivers，orkings。
Underthisheadofbalancingandchoosingthegreaterreason，oroftwoevilstakingtheleast，wemayconsidertheconductofRubensintheLuxembourggallery，ofmixingallegoricalfigureswithrepresentationsofrealpersonages，which，thoughacknowledgedtobeafault，yet，iftheartistconsideredhimselfasengagedtofurnishthisgallerywitharichandsplendidornament，thiscouldnotbedone，atleastinanequaldegree，withoutpeoplingtheairandwaterwiththeseallegoricalfigures：hethereforeaccomplishedthathepurposes。Inthiscasealllesserconsiderations，whichtendtoobstructthegreatendofthework，mustyieldandgiveway。
IfitisobjectedthatRubensjudgedillatfirstinthinkingitnecessarytomakehisworksoveryornamental，thisbringsthequestionuponnewground。Itwashispeculiarstyle;hecouldpaintinnoother;andhewasselectedforthatwork，probably，becauseitwashisstyle。NobodywilldisputebutsomeofthebestoftheRomanorBolognianschoolswouldhaveproducedamorelearnedandmorenoblework。
Thisleadsustoanotherimportantprovinceoftaste，ofweighingthevalueofthedifferentclassesoftheart，andofestimatingthemaccordingly。
Allartshavemeanswithinthemofapplyingthemselveswithsuccessbothtotheintellectualandsensitivepartofournatures。Itcanbenodispute，supposingboththesemeansputinpracticewithequalabilities，towhichweoughttogivethepreference：tohimwhorepresentstheheroicartsandmoredignifiedpassionsofman，ortohimwho，bythehelpofmeretriciousornaments，howeverelegantandgraceful，captivatesthesensuality，asitmaybecalled，ofourtaste。ThustheRomanandBolognianschoolsarereasonablypreferredtotheVenetian，Flemish，orDutchschools，astheyaddressthemselvestoourbestandnoblestfaculties。
Well-turnedperiodsineloquence，orharmonyofnumbersinpoetry，whichareinthoseartswhatcolouringisinpainting，howeverhighlywemayesteemthem，canneverbeconsideredasofequalimportancewiththeartofunfoldingtruthsthatareusefultomankind，andwhichmakeusbetterorwiser。Norcanthoseworkswhichremindusofthepovertyandmeannessofournature，beconsideredasofequalrankwithwhatexcitesideasofgrandeur，orraisesanddignifieshumanity;or，inthewordsofalatepoet，whichmakesthebeholderlearntoveneratehimselfasman。
Itisreasonandgoodsensethereforewhichranksandestimateseveryart，andeverypartofthatart，accordingtoitsimportance，fromthepainterofanimateddowntoinanimatednature。Wewillnotallowaman，whoshallprefertheinferiorstyle，tosayitishistaste;tasteherehasnothing，oratleastoughttohavenothingtodowiththequestion。Hewantsnottaste，butsense，andsoundnessofjudgment。
Indeed，perfectioninaninferiorstylemaybereasonablypreferredtomediocrityinthehighestwalksofart。AlandscapeofClaudeLorrainemaybepreferredtoahistoryofLucaJordano;buthenceappearsthenecessityoftheconnoisseur’sknowinginwhatconsiststheexcellenceofeachclass，inordertojudgehownearitapproachestoperfection。
Eveninworksofthesamekind，asinhistorypainting，whichiscomposedofvariousparts，excellenceofaninferiorspecies，carriedtoaveryhighdegree，willmakeaworkveryvaluable，andinsomemeasurecompensatefortheabsenceofthehigherkindofmerits。Itisthedutyoftheconnoisseurtoknowandesteem，asmuchasitmaydeserve，everypartofpainting;hewillnotthenthinkevenBassanounworthyofhisnotice，who，thoughtotallydevoidofexpression，sense，grace，orelegance，maybeesteemedonaccountofhisadmirabletasteofcolours，which，inhisbestworks，arelittleinferiortothoseofTitian。
SinceIhavementionedBassano，wemustdohimlikewisethejusticetoacknowledgethat，thoughhedidnotaspiretothedignityofexpressingthecharactersandpassionsofmen，yet，withrespecttothefacilityandtruthinhismanneroftouchinganimalsofallkinds，andgivingthemwhatpainterscalltheircharacter，fewhaveeverexcelledhim。
ToBassanowemayaddPaulVeroneseandTintoret，fortheirentireinattentiontowhatisjustlyesteemedthemostessentialpartofourart，theexpressionofthepassions。Notwithstandingtheseglaringdeficiencies，wejustlyesteemtheirworks;butitmustberememberedthattheydonotpleasefromthosedefects，butfromtheirgreatexcellencesofanotherkind，andinspiteofsuchtransgressions。Theseexcellences，too，asfarastheygo，arefoundedinthetruthofgeneralnature。Theytellthetruth，thoughnotthewholetruth。
Bytheseconsiderations，whichcanneverbetoofrequentlyimpressed，maybeobviatedtwoerrorswhichIobservedtohavebeen，formerlyatleast，themostprevalent，andtobemostinjurioustoartists：thatofthinkingtasteandgeniustohavenothingtodowithreason，andthatoftakingparticularlivingobjectsfornature。
Ishallnowsaysomethingonthatpartoftastewhich，asIhavehintedtoyoubefore，doesnotbelongsomuchtotheexternalformofthings，butisaddressedtothemind，anddependsonitsoriginalframe，or，tousetheexpression，theorganisationofthesoul;Imeantheimaginationandthepassions。Theprinciplesoftheseareasinvariableastheformer，andaretobeknownandreasoneduponinthesamemanner，byanappealtocommonsensedecidinguponthecommonfeelingsofmankind。Thissense，andthesefeelings，appeartomeofequalauthority，andequallyconclusive。
Nowthisappealimpliesageneraluniformityandagreementinthemindsofmen。Itwouldbeelseanidleandvainendeavourtoestablishrulesofart;itwouldbepursuingaphantomtoattempttomoveaffectionswithwhichwewereentirelyunacquainted。Wehavenoreasontosuspectthereisagreaterdifferencebetweenourmindsthanbetweenourforms，ofwhich，thoughtherearenotwoalike，yetthereisageneralsimilitudethatgoesthroughthewholeraceofmankind;andthosewhohavecultivatedtheirtastecandistinguishwhatisbeautifulordeformed，or，inotherwords，whatagreeswithorwhatdeviatesfromthegeneralideaofnature，inonecaseaswellasintheother。
Theinternalfabricofourmind，aswellastheexternalformofourbodies，beingnearlyuniform，itseemsthentofollow，ofcourse，thatastheimaginationisincapableofproducinganythingoriginallyofitself，andcanonlyvaryandcombinetheseideaswithwhichitisfurnishedbymeansofthesenses，therewillbe，ofcourse，anagreementintheimaginationsasinthesensesofmen。Therebeingthisagreement，itfollowsthatinallcases，inourlightestamusementsaswellasinourmostseriousactionsandengagementsoflife，wemustregulateouraffectionsofeverykindbythatofothers。Thewell-disciplinedmindacknowledgesthisauthority，andsubmitsitsownopiniontothepublicvoice。
Itisfromknowingwhatarethegeneralfeelingsandpassionsofmankindthatweacquireatrueideaofwhatimaginationis;thoughitappearsasifwehadnothingtodobuttoconsultourownparticularsensations，andtheseweresufficienttoensureusfromallerrorandmistake。
Aknowledgeofthedispositionandcharacterofthehumanmindcanbeacquiredonlybyexperience：agreatdealwillbelearned，I
admit，byahabitofexaminingwhatpassesinourbosoms，whatareourownmotivesofaction，andofwhatkindofsentimentsweareconsciousonanyoccasion。Wemaysupposeauniformity，andconcludethatthesameeffectwillbeproducedbythesamecauseinthemindsofothers。Thisexaminationwillcontributetosuggesttousmattersofinquiry;butwecanneverbesurethatourownsensationsaretrueandrighttilltheyareconfirmedbymoreextensiveobservation。
Onemanopposinganotherdeterminesnothingbutageneralunionofminds，likeageneralcombinationoftheforcesofallmankind，makesastrengththatisirresistible。Infact，ashewhodoesnotknowhimselfdoesnotknowothers，soitmaybesaidwithequaltruth，thathewhodoesnotknowothersknowshimselfbutveryimperfectly。
AmanwhothinksheisguardinghimselfagainstPrejudicesbyresistingtheauthorityofothers，leavesopeneveryavenuetosingularity，vanity，self-conceit，obstinacy，andmanyothervices，alltendingtowarpthejudgmentandpreventthenaturaloperationofhisfaculties。
Thissubmissiontoothersisadeferencewhichweowe，andindeedareforcedinvoluntarilytopay。
Infactweareneversatisfiedwithouropinionstilltheyareratifiedandconfirmedbythesuffragesoftherestofmankind。Wedisputeandwrangleforever;weendeavourtogetmentocometouswhenwedonotgotothem。
Hethereforewhoisacquaintedwiththeworkswhichhavepleaseddifferentagesanddifferentcountries，andhasformedhisopiniononthem，hasmorematerialsandmoremeansofknowingwhatisanalogoustothemindofmanthanhewhoisconversantonlywiththeworksofhisownageorcountry。Whathaspleased，andcontinuestoplease，islikelytopleaseagain：hencearederivedtherulesofart，andonthisimmovablefoundationtheymusteverstand。
Thissearchandstudyofthehistoryofthemindoughtnottobeconfinedtooneartonly。Itisbytheanalogythatoneartbearstoanotherthatmanythingsareascertainedwhicheitherwerebutfaintlyseen，or，perhaps，wouldnothavebeendiscoveredatalliftheinventorhadnotreceivedthefirsthintsfromthepracticesofasisterartonasimilaroccasion。Thefrequentallusionswhicheverymanwhotreatsofanyartisobligedtodrawfromothersinordertoillustrateandconfirmhisprinciples，sufficientlyshowtheirnearconnectionandinseparablerelation。
Allartshavingthesamegeneralend，whichistoplease，andaddressingthemselvestothesamefacultiesthroughthemediumofthesenses，itfollowsthattheirrulesandprinciplesmusthaveasgreataffinityasthedifferentmaterialsandthedifferentorgansorvehiclesbywhichtheypasstothemindwillpermitthemtoretain。
Wemaythereforeconcludethattherealsubstance，asitmaybecalled，ofwhatgoesunderthenameoftaste，isfixedandestablishedinthenatureofthings;thattherearecertainandregularcausesbywhichtheimaginationandpassionsofmenareaffected;andthattheknowledgeofthesecausesisacquiredbyalaboriousanddiligentinvestigationofnature，andbythesameslowprogressaswisdomorknowledgeofeverykind，howeverinstantaneousitsoperationsmayappearwhenthusacquired。
Ithasbeenoftenobservedthatthegoodandvirtuousmanalonecanacquirethistrueorjustrelish，evenofworksofart。Thisopinionwillnotappearentirelywithoutfoundationwhenweconsiderthatthesamehabitofmindwhichisacquiredbyoursearchaftertruthinthemoreseriousdutiesoflife，isonlytransferredtothepursuitoflighteramusements：thesamedisposition，thesamedesiretofindsomethingsteady，substantial，anddurable，onwhichthemindcanlean，asitwere，andrestwithsafety。Thesubjectonlyischanged。Wepursuethesamemethodinoursearchaftertheideaofbeautyandperfectionineach;ofvirtue，bylookingforwardsbeyondourselvestosociety，andtothewhole;ofarts，byextendingourviewsinthesamemannertoallagesandalltimes。
Everyart，likeourown，hasinitscompositionfluctuatingaswellasfixedprinciples。Itisanattentiveinquiryintotheirdifferencethatwillenableustodeterminehowfarweareinfluencedbycustomandhabit，andwhatisfixedinthenatureofthings。
Todistinguishhowmuchhassolidfoundation，wemayhaverecoursetothesameproofbywhichsomeholdwitoughttobetried——whetheritpreservesitselfwhentranslated。Thatwitisfalsewhichcansubsistonlyinonelanguage;andthatpicturewhichpleasesonlyoneageoronenation，owesitsreceptiontosomelocaloraccidentalassociationofideas。
Wemayapplythistoeverycustomandhabitoflife。Thusthegeneralprinciplesofurbanity，politeness，orcivility，havebeeneverthesameinallnations;butthemodeinwhichtheyaredressediscontinuallyvarying。Thegeneralideaofshowingrespectisbymakingyourselfless：butthemanner，whetherbybowingthebody，kneeling，prostration，pullingofftheupperpartofourdress，ortakingawaythelower，isamatterofhabit。Itwouldbeunjusttoconcludethatallornaments，becausetheywereatfirstarbitrarilycontrived，arethereforeundeservingofourattention;onthecontrary，hewhoneglectsthecultivationofthoseornaments，actscontrarilytonatureandreason。Aslifewouldbeimperfectwithoutitshighestornaments，thearts，sotheseartsthemselveswouldbeimperfectwithoutTHEIRornaments。
Thoughwebynomeansoughttorankthesewithpositiveandsubstantialbeauties，yetitmustbeallowedthataknowledgeofbothisessentiallyrequisitetowardsformingacomplete，whole，andperfecttaste。Itisinrealityfromtheornamentsthatartsreceivetheirpeculiarcharacterandcomplexion;wemayaddthatinthemwefindthecharacteristicalmarkofanationaltaste，asbythrowingupafeatherintheairweknowwhichwaythewindblows，betterthanbyamoreheavymatter。
ThestrikingdistinctionbetweentheworksoftheRoman，Bolognian，andVenetianschools，consistsmoreinthatgeneraleffectwhichisproducedbycoloursthaninthemoreprofoundexcellencesoftheart;atleastitisfromthencethateachisdistinguishedandknownatfirstsight。Asitistheornamentsratherthantheproportionsofarchitecturewhichatthefirstglancedistinguishthedifferentordersfromeachother;theDoricisknownbyitstriglyphs，theIonicbyitsvolutes，andtheCorinthianbyitsacanthus。
Whatdistinguishesoratoryfromacoldnarration，isamoreliberalthoughchasteuseoftheseornamentswhichgounderthenameoffigurativeandmetaphoricalexpressions;andpoetrydistinguishesitselffromoratorybywordsandexpressionsstillmoreardentandglowing。WhatseparatesanddistinguishespoetryismoreparticularlytheornamentofVERSE;itisthiswhichgivesititscharacter，andisanessential，withoutwhichitcannotexist。
Customhasappropriateddifferentmetretodifferentkindsofcomposition，inwhichtheworldisnotperfectlyagreed。InEnglandthedisputeisnotyetsettledwhichistobepreferred，rhymeorblankverse。Buthoweverwedisagreeaboutwhatthesemetricalornamentsshallbe，thatsomemetreisessentiallynecessaryisuniversallyacknowledged。
Inpoetryoreloquence，todeterminehowfarfigurativeormetaphoricallanguagemayproceed，andwhenitbeginstobeaffectationorbesidethetruth，mustbedeterminedbytaste，thoughthistastewemustneverforgetisregulatedandformedbythepresidingfeelingsofmankind，bythoseworkswhichhaveapprovedthemselvestoalltimesandallpersons。
Thus，thougheloquencehasundoubtedlyanessentialandintrinsicexcellence，andimmovableprinciplescommontoalllanguages，foundedinthenatureofourpassionsandaffections，yetithasitsornamentsandmodesofaddresswhicharemerelyarbitrary。
WhatisapprovedintheEasternnationsasgrandandmajestic，wouldbeconsideredbytheGreeksandRomansasturgidandinflated;andthey，inreturn，wouldbethoughtbytheOrientalstoexpressthemselvesinacoldandinsipidmanner。
Wemayaddlikewisetothecreditofornaments，thatitisbytheirmeansthatartitselfaccomplishesitspurpose。Fresnoycallscolouring，whichisoneofthechiefornamentsofpainting，lenasororis，thatwhichprocuresloversandadmirerstothemorevaluableexcellencesoftheart。
ItappearstobethesamerightturnofmindwhichenablesamantoacquiretheTRUTH，orthejustideaofwhatisrightintheornaments，asinthemorestableprinciplesofart。Ithasstillthesamecentreofperfection，thoughitisthecentreofasmallercircle。
Toillustratethisbythefashionofdress，inwhichthereisallowedtobeagoodor，badtaste。Thecomponentpartsofdressarecontinuallychangingfromgreattolittle，fromshorttolong，butthegeneralformstillremains;itisstillthesamegeneraldresswhichiscomparativelyfixed，thoughonaveryslenderfoundation，butitisonthiswhichfashionmustrest。Hewhoinventswiththemostsuccess，ordressesin，thebesttaste，wouldprobably，fromthesamesagacityemployedtogreaterpurposes，havediscoveredequalskill，orhaveformedthesamecorrecttasteinthehighestlaboursofart。
Ihavementionedtasteindress，whichiscertainlyoneofthelowestsubjectstowhichthiswordisapplied;yet，asIhavebeforeobserved，thereisarightevenhere，howevernarrowitsfoundationrespectingthefashionofanyparticularnation。Butwehavestillmoreslendermeansofdetermining，inregardtothedifferentcustomsofdifferentagesorcountries，towhichtogivethepreference，sincetheyseemtobeallequallyremovedfromnature。
IfanEuropean，whenhehascutoffhisbeard，andputfalsehaironhishead，orbounduphisownnaturalhairinregularhardknots，asunlikenatureashecanpossiblymakeit;andhavingrenderedthemimmovablebythehelpofthefatofhogs，hascoveredthewholewithflour，laidonbyamachinewiththeutmostregularity;if，whenthusattiredheissuesforth，hemeetsaCherokeeIndian，whohasbestowedasmuchtimeathistoilet，andlaidonwithequalcareandattentionhisyellowandredochreonparticularpartsofhisforeheadorcheeks，ashejudgesmostbecoming;whoeverdespisestheotherforthisattentiontothefashionofhiscountry，whicheverofthesetwofirstfeelshimselfprovokedtolaugh，isthebarbarian。
Allthesefashionsareveryinnocent，neitherworthdisquisition，noranyendeavourtoalterthem，asthechangewould，inallprobability，beequallydistantfromnature。Theonlycircumstancesagainstwhichindignationmayreasonablybemoved，arewheretheoperationispainfulordestructiveofhealth，suchasispractisedatOtahaiti，andthestraightlacingoftheEnglishladies;ofthelastofwhich，howdestructiveitmustbetohealthandlonglife，theprofessorofanatomytookanopportunityofprovingafewdayssinceinthisAcademy。
Itisindressasinthingsofgreaterconsequence。Fashionsoriginatefromthoseonlywhohavethehighandpowerfuladvantagesofrank，birth，andfortune;asmanyoftheornamentsofart，thoseatleastforwhichnoreasoncanbegiven，aretransmittedtous，areadopted，andacquiretheirconsequencefromthecompanyinwhichwehavebeenusedtoseethem。AsGreeceandRomearethefountainsfromwhencehaveflowedallkindsofexcellence，tothatvenerationwhichtheyhavearighttoclaimforthepleasureandknowledgewhichtheyhaveaffordedus，wevoluntarilyaddourapprobationofeveryornamentandeverycustomthatbelongedtothem，eventothefashionoftheirdress。Foritmaybeobservedthat，notsatisfiedwiththemintheirownplace，wemakenodifficultyofdressingstatuesofmodernheroesorsenatorsinthefashionoftheRomanarmourorpeacefulrobe;wegosofarashardlytobearastatueinanyotherdrapery。
Thefiguresofthegreatmenofthosenationshavecomedowntousinsculpture。Insculptureremainalmostalltheexcellentspecimensofancientart。Wehavesofarassociatedpersonaldignitytothepersonsthusrepresented，andthetruthofarttotheirmannerofrepresentation，thatitisnotinourpoweranylongertoseparatethem。Thisisnotsoinpainting;because，havingnoexcellentancientportraits，thatconnectionwasneverformed。Indeed，wecouldnomoreventuretopaintageneralofficerinaRomanmilitaryhabit，thanwecouldmakeastatueinthepresentuniform。Butsincewehavenoancientportraits，toshowhowreadywearetoadoptthosekindofprejudices，wemakethebestauthorityamongthemodernsservethesamepurpose。ThegreatvarietyofexcellentportraitswithwhichVandykehasenrichedthisnation，wearenotcontenttoadmirefortheirrealexcellence，butextendourapprobationeventothedresswhichhappenedtobethefashionofthatage。WeallverywellrememberhowcommonitwasafewyearsagoforportraitstobedrawninthisGothicdress，andthiscustomisnotyetentirelylaidaside。BythismeansitmustbeacknowledgedveryordinarypicturesacquiredsomethingoftheairandeffectoftheworksofVandyke，andappearedthereforeatfirstsighttobebetterpicturesthantheyreallywere;theyappearedso，however，tothoseonlywhohadthemeansofmakingthisassociation，forwhenmade，itwasirresistible。Butthisassociationisnature，andreferstothatSecondarytruththatcomesfromconformitytogeneralprejudiceandopinion;itisthereforenotmerelyfantastical。Besidestheprejudicewhichwehaveinfavourofancientdresses，theremaybelikewiseotherreasons，amongstwhichwemayjustlyrankthesimplicityofthem，consistingoflittlemorethanonesinglepieceofdrapery，withoutthosewhimsicalcapriciousformsbywhichallotherdressesareembarrassed。
Thus，thoughitisfromtheprejudicewehaveinfavouroftheancients，whohavetaughtusarchitecture，thatwehaveadoptedlikewisetheirornaments;andthoughwearesatisfiedthatneithernaturenorreasonisthefoundationofthosebeautieswhichweimagineweseeinthatart，yetifanyonepersuadedofthistruthshould，therefore，inventnewordersofequalbeauty，whichwewillsupposetobepossible，yettheywouldnotplease，noroughthetocomplain，sincetheoldhasthatgreatadvantageofhavingcustomandprejudiceonitsside。Inthiscaseweleavewhathaseveryprejudiceinitsfavourtotakethatwhichwillhavenoadvantageoverwhatwehaveleft，butnovelty，whichsoondestroysitself，and，atanyrate，isbutaweakantagonistagainstcustom。
Theseornaments，havingtherightofpossession，oughtnottoberemovedbuttomakeroomfornotonlywhathashigherpretensions，butsuchpretensionsaswillbalancetheevilandconfusionwhichinnovationalwaysbringswithit。
Tothiswemayadd，eventhedurabilityofthematerialswilloftencontributetogiveasuperioritytooneobjectoveranother。
Ornamentsinbuildings，withwhichtasteisprincipallyconcerned，arecomposedofmaterialswhichlastlongerthanthoseofwhichdressiscomposed;it，therefore，makeshigherpretensionstoourfavourandprejudice。
Someattentionissurelyrequiredtowhatwecannomoregetridofthanwecangooutofourselves。Wearecreaturesofprejudice;weneithercannoroughttoeradicateit;wemustonlyregulate，itbyreason，whichregulationbyreasonis，indeed，littlemorethanobligingthelesser，thefocalandtemporaryprejudices，togivewaytothosewhicharemoredurableandlasting。
He，therefore，whoinhispracticeofportraitpaintingwishestodignifyhissubject，whichwewillsupposetobealady，willnotpaintherinthemoderndress，thefamiliarityofwhichaloneissufficienttodestroyalldignity。Hetakescarethathisworkshallcorrespondtothoseideasandthatimaginationwhichheknowswillregulatethejudgmentofothers，and，therefore，dresseshisfiguresomethingwiththegeneralairoftheantiqueforthesakeofdignity，andpreservessomethingofthemodernforthesakeoflikeness。Bythisconducthisworkscorrespondwiththoseprejudiceswhichwehaveinfavourofwhatwecontinuallysee;andtherelishoftheantiquesimplicitycorrespondswithwhatwemaycallthe，morelearnedandscientificprejudice。
TherewasastatuemadenotlongsinceofVoltaire，whichthesculptor，nothavingthatrespectfortheprejudicesofmankindwhichheoughttohave，hasmadeentirelynaked，andasmeagreandemaciatedastheoriginalissaidtobe。Theconsequenceiswhatmightbeexpected;ithasremainedinthesculptor’sshop，thoughitwasintendedasapublicornamentandapublichonourtoVoltaire，asitwasprocuredattheexpenseofhiscotemporarywitsandadmirers。
Whoeverwouldreformanation，supposingabadtastetoprevailinit，willnotaccomplishhispurposebygoingdirectlyagainstthestreamoftheirprejudices。Men’smindsmustbepreparedtoreceivewhatisnewtothem。Reformationisaworkoftime。A
nationaltaste，howeverwrongitmaybe，cannotbetotallychangeatonce;wemustyieldalittletotheprepossessionwhichhastakenholdonthemind，andwemaythenbringpeopletoadoptwhatwouldoffendthemifendeavouredtobeintroducedbystorm。WhenBattistoFrancowasemployed，inconjunctionwithTitian，PaulVeronese，andTintoret，toadornthelibraryofSt。Mark，hiswork，Vasarisays，gavelesssatisfactionthananyoftheothers：thedrymanneroftheRomanschoolwasveryillcalculatedtopleaseeyesthathadbeenaccustomedtotheluxuriance，splendour，andrichnessofVenetiancolouring。HadtheRomansbeenthejudgesofthiswork，probablythedeterminationwouldhavebeenjustcontrary;forinthemorenoblepartsoftheartBattistoFrancowas，perhaps，notinferiortoanyofhisrivals。
Gentlemen，——Ithasbeenthemainscopeandprincipalendofthisdiscoursetodemonstratetherealityofastandardintaste，aswellasincorporealbeauty;thatafalseordepravedtasteisathingaswellknown，aseasilydiscovered，asanythingthatisdeformed，misshapen，orwronginourformoroutwardmake;andthatthisknowledgeisderivedfromtheuniformityofsentimentsamongmankind，fromwhenceproceedstheknowledgeofwhatarethegeneralhabitsofnature，theresultofwhichisanideaofperfectbeauty。
Ifwhathasbeenadvancedbetrue，thatbesidesthisbeautyortruthwhichisformedontheuniformeternalandimmutablelawsofnature，andwhichofnecessitycanbebutone;thatbesidesthisoneimmutableveritytherearelikewisewhatwehavecalledapparentorsecondarytruthsproceedingfromlocalandtemporaryprejudices，fancies，fashions，oraccidentalconnectionofideas;
ifitappearsthattheselasthavestilltheirfoundation，howeverslender，intheoriginalfabricofourminds，itfollowsthatallthesetruthsorbeautiesdeserveandrequiretheattentionoftheartistinproportiontotheirstabilityorduration，orastheirinfluenceismoreorlessextensive。Andletmeaddthatastheyoughtnottopasstheirjustbounds，soneitherdothey，inawell-
regulatedtaste，atallpreventorweakentheinfluenceofthesegeneralprinciples，whichalonecangivetoartitstrueandpermanentdignity。
Toformthisjusttasteisundoubtedlyinyourownpower，butitistoreasonandphilosophythatyoumusthaverecourse;fromthemwemustborrowthebalancebywhichistobeweighedandestimatedthevalueofeverypretensionthatintrudesitselfonyournotice。
Thegeneralobjectionwhichismadetotheintroductionofphilosophyintotheregionsoftasteis，thatitchecksandrestrainstheflightsoftheimagination，andgivesthattimiditywhichanover-carefulnessnottoerroractcontrarytoreasonislikelytoproduce。
Itisnotso。Fearisneitherreasonnorphilosophy。Thetruespiritofphilosophybygivingknowledgegivesamanlyconfidence，andsubstitutesrationalfirmnessintheplaceofvainpresumption。
Amanofrealtasteisalwaysamanofjudgmentinotherrespects;
andthoseinventionswhicheitherdisdainorshrinkfromreason，aregenerally，Ifear，morelikethedreamsofadistemperedbrainthantheexaltedenthusiasmofasoundandtruegenius。Inthemidstofthehighestflightsoffancyorimagination，reasonoughttopresidefromfirsttolast，thoughIadmithermorepowerfuloperationisuponreflection。
Icannothelpaddingthatsomeofthegreatestnamesofantiquity，andthosewhohavemostdistinguishedthemselvesinworksofgeniusandimagination，wereequallyeminentfortheircriticalskill。
Plato，Aristotle，Cicero，andHorace;andamongthemoderns，Boileau，Corneille，Pope，andDryden，areatleastinstancesofgeniusnotbeingdestroyedbyattentionorsubjectiontorulesandscience。Ishouldhope，therefore，thatthenaturalconsequencelikewiseofwhathasbeensaidwouldbetoexciteinyouadesireofknowingtheprinciplesandconductofthegreatmastersofourart，andrespectandvenerationforthemwhenknown。