as they appear to me to have the greatest uniformity of mind throughout
their whole work. But we may add to these, all these artists who are at
the head of the class, and have had a school of imitators from Michael
Angelo down to Watteau. Upon the whole it appears that setting aside the
ornamental style, there are two different paths, either of which a
student may take without degrading the dignity of his art. The first is
to combine the higher excellences and embellish them to the greatest
advantage. The other is to carry one of these excellences to the highest
degree. But those who possess neither must be classed with them, who, as
Shakespeare says, are men of no mark or likelihood.

I inculcate as frequently as I can your forming yourselves upon great
principles and great models. Your time will be much misspent in every
other pursuit. Small excellences should be viewed, not studied; they
ought to be viewed, because nothing ought to escape a painter's
observation, but for no other reason.

There is another caution which I wish to give you. Be as select in those
whom you endeavour to please, as in those whom you endeavour to imitate.
Without the love of fame you can never do anything excellent; but by an
excessive and undistinguishing thirst after it, you will come to have
vulgar views; you will degrade your style; and your taste will be
entirely corrupted. It is certain that the lowest style will be the most
popular, as it falls within the compass of ignorance itself; and the
vulgar will always be pleased with what is natural in the confined and
misunderstood sense of the word.

One would wish that such depravation of taste should be counteracted,
with such manly pride as Euripides expressed to the Athenians, who
criticised his works, "I do not compose," says he, "my works in order to