But to bring us entirely to reason and sobriety, let it be

observed, that a painter must not only be of necessity an imitator

of the works of nature, which alone is sufficient to dispel this

phantom of inspiration, but he must be as necessarily an imitator

of the works of other painters. This appears more humiliating, but

it is equally true; and no man can be an artist, whatever he may

suppose, upon any other terms.

However, those who appear more moderate and reasonable allow that

study is to begin by imitation, but that we should no longer use

the thoughts of our predecessors when we are become able to think

for ourselves. They hold that imitation is as hurtful to the more

advanced student as it was advantageous to the beginner.

For my own part, I confess I am not only very much disposed to lay

down the absolute necessity of imitation in the first stages of the

art, but am of opinion that the study of other masters, which I

here call imitation, may be extended throughout our whole life

without any danger of the inconveniences with which it is charged,

of enfeebling the mind, or preventing us from giving that original

air which every work undoubtedly ought always to have.

I am, on the contrary, persuaded that by imitation only, variety,

and even originality of invention is produced.

I will go further; even genius, at least what generally is so

called, is the child of imitation. But as this appears to be

contrary to the general opinion, I must explain my position before

I enforce it.

Genius is supposed to be a power of producing excellences which are

out of the reach of the rules of art--a power which no precepts can

teach, and which no industry can acquire.