the finishing, or naturalness of drapery, but put herself at once to
mimic the awkward attitudes. "The censure of nature uninformed, fastened
upon the greatest fault that could be in a picture, because it related
to the character and management of the whole." What he would condemn is
that substitute for deep and proper study, which is to enable the
painter to conceive and execute every subject as a whole, and a finish
which Cowley calls "laborious effects of idleness." He concludes this
Discourse with some hints on method of study. Many go to Italy to copy
pictures, and derive little advantage. "The great business of study is,
to form a mind adapted and adequate to all times and all occasions, to
which all nature is then laid open, and which may be said to possess the
key of her inexhaustible riches."

Mr Burnet has supplied a plate of the Monk flying from the scene of
murder, in Titian's "Peter Martyr," showing how that great painter could
occasionally adopt the style of Michael Angelo in his forms. In the same
note he observes, that Sir Joshua had forgotten the detail of this
picture, which detail is noticed and praised by Algarotti, for its
minute discrimination of leaves and plants, "even to excite the
admiration of a botanist."--Sir Joshua said they were not there. Mr
Burnet examined the picture at Paris, and found, indeed, the detail, but
adds, that "they are made out with the same hue as the general tint of
the ground, which is a dull brown," an exemplification of the rule, "Ars
est celare artem." Mr Burnet remarks, that there is the same minute
detail in Titian's "Bacchus and Ariadne."--He is right--we have noticed
it, and suspected that it had lost the glazing which had subdued it. As
it is, however, it is not important. Mr Burnet is fearful lest the
authority of Sir Joshua should induce a habit of generalizing too much.
He expresses this fear in another note. He says, "the great eagerness to
acquire what the poet calls