mon observation and a plain understanding can confer,” he may as well desist at once from “ascending the brightest heaven of invention:”—if the very idea of the divinity of art deters instead of animating him, if the enthusiasm with which others speak of it damps the flame in his own breast, he had better not enter into a competition where he wants the first principle of success, the daring to aspire and the hope to excel. He may be assured he is not the man. Sir Joshua himself was not struck at first by the sight of the masterpieces of the great style of art, and he seems unconsciously to have adopted this theory to show that he might still have succeeded in it but for want of due application. His hypothesis goes to this—to make the common run of his readers fancy they can do all that can be done by genius, and to make the man of genius believe he can only do what is to be done by mechanical rules and systematic industry. This is not a very feasible scheme; nor is Sir Joshua sufficiently clear and explicit in his reasoning in support of it.
In speaking of Carlo Maratti, he confesses the inefficiency of this doctrine in a very remarkable manner:—
“Carlo Maratti succeeded better than those I have first named, and I think owes his su-
