favour of old masters." Such artists are not likely to eclipse the fame
of those great men, the study of whose works has so long _prejudiced_
the world.

* * * * *

The THIRTEENTH DISCOURSE shows that art is not imitation, but is under
the influence and direction of the imagination, and in what manner
poetry, painting, acting, gardening, and architecture, depart from
nature. However good it is to study the beauties of artists, this is
only to know art through them. The principles of painting remain to be
compared with those of other arts, all of them with human nature. All
arts address themselves only to two faculties of the mind, its
imagination and its sensibility. We have feeling, and an instantaneous
judgment, the result of the experience of life, and reasonings which we
cannot trace. It is safer to trust to this feeling and judgment, than
endeavour to control and direct art upon a supposition of what ought in
reason to be the end or means. We should, therefore, most carefully
store first impressions. They are true, though we know not the process
by which the first conviction is formed. Partial and after reasoning
often serves to destroy that character, the truth of which came upon us
as with an instinctive knowledge. We often reason ourselves into narrow
and partial theories, not aware that "_real_ principles of _sound
reason_, and of so much more weight and importance, are involved, and
as it were lie hid, under the appearance of a sort of vulgar sentiment.
Reason, without doubt, must ultimately determine every thing; at this
minute it is required to inform us when that very reason is to give way
to feeling." Sir Joshua again refers to the mistaken views of art, and
taken too by not the poorest minds, "that it entirely or mainly depends
on imitation." Plato, even in this respect, misleads by a partial