character and passions of those vulgar people which are the
subjects of their study and attention. Amongst those, Jean Stein
seems to be one of the most diligent and accurate observers of what
passed in those scenes which he frequented, and which were to him
an academy. I can easily imagine that if this extraordinary man
had had the good fortune to have been born in Italy instead of
Holland, had he lived in Rome instead of Leyden, and had been
blessed with Michael Angelo and Raffaelle for his masters instead
of Brower and Van Gowen, that the same sagacity and penetration
which distinguished so accurately the different characters and
expression in his vulgar figures, would, when exerted in the
selection and imitation of what was great and elevated in nature,
have been equally successful, and his name would have been now
ranged with the great pillars and supporters of our art.
Men who, although thus bound down by the almost invincible powers
of early habits, have still exerted extraordinary abilities within
their narrow and confined circle, and have, from the natural vigour
of their mind, given such an interesting expression, such force and
energy to their works, though they cannot be recommended to be
exactly imitated, may yet invite an artist to endeavour to
transfer, by a kind of parody, those excellences to his own works.
Whoever has acquired the power of making this use of the Flemish,
Venetian, and French schools is a real genius, and has sources of
knowledge open to him which were wanting to the great artists who
lived in the great age of painting.
To find excellences however dispersed, to discover beauties however
concealed by the multitude of defects with which they are
surrounded, can be the work only of him who, having a mind always
alive to his art, has extended his views to all ages and to all
schools, and has acquired from that comprehensive mass which he has
thus gathered to himself, a well digested and perfect idea of his
art, to which everything is referred. Like a sovereign judge and
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