themselves than from the precepts which are formed upon these

works; but if it is difficult to choose proper models for

imitation, it requires no less circumspection to separate and

distinguish what in those models we ought to imitate.

I cannot avoid mentioning here, though it is not my intention at

present to enter into the art and method of study, an error which

students are too apt to fall into.

He that is forming himself must look with great caution and

wariness on those peculiarities, or prominent parts, which at first

force themselves upon view, and are the marks, or what is commonly

called the manner, by which that individual artist is

distinguished.

Peculiar marks I hold to be generally, if not always, defects,

however difficult it may be, wholly to escape them.

Peculiarities in the works of art are like those in the human

figure; it is by them that we are cognisable and distinguished one

from another, but they are always so many blemishes, which,

however, both in the one case and in the other, cease to appear

deformities to those who have them continually before their eyes.

In the works of art, even the most enlightened mind, when warmed by

beauties of the highest kind, will by degrees find a repugnance

within him to acknowledge any defects; nay, his enthusiasm will

carry him so far as to transform them into beauties and objects of

imitation.

It must be acknowledged that a peculiarity of style, either from

its novelty, or by seeming to proceed from a peculiar turn of mind,

often escapes blame; on the contrary, it is sometimes striking and

pleasing; but this it is vain labour to endeavour to imitate,

because novelty and peculiarity being its only merit, when it