Principal Excellence>
[P 104] Some inferior dexterity, some extraordinary mechanical power is apparently that from
which [the Dutch school] seek distinction.
[P 106] An History-painter paints mall in general; a Portrait- painter, a particular man,
A History Painter Paints The Hero, & not Man in General. but most minutely in
Particular
[P 109] Thus. . . a portrait-painter leaves out all the minute breaks and peculiarities in the face. .
Folly! Of what consequence is it to the Arts what a Portrait Painter does
[P II 0] . . . the composite style, . . . Correggio. . . . modern grace and elegance, . .
There is No Such Thing as A Composite Style
[P Ill] The errors of genius, however, are pardonable. . . .
[P 112] On the whole. . . one presiding principle. . . . The works. . . built upon general nature,
live for ever; . .
DISCOURSE V
[114, back of title]
Gainsborough told a Gentleman of Rank & Fortune that the Worst Painters always
chose the Grandest Subjects. I desired the Gentleman to Set Gainsborough about one
of Rafaels Grandest Subjects Namely Christ delivering the Keys to St Peter. & he
would find that in Gainsboroughs hands it would be a Vulgar Subject of Poor
Fishermen & a Journeyman Carpenter
The following Discourse is written with the same End in View. that Gainsborough had
in making the Above assertion Namely To Represent Vulgar Artists as the Models of
Executive Merit
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