pe had the
appearance of a modern view, how ridiculous would Apollo appear instead
of the sun, an old man or a nymph with an urn instead of a river or lake.

I cannot avoid mentioning here a circumstance in portrait painting which
may help to confirm what has been said.

When a portrait is painted in the historical style, as it is neither an
exact minute representation of an individual nor completely ideal, every
circumstance ought to correspond to this mixture. The simplicity of the
antique air and attitude, however much to be admired, is ridiculous when
joined to a figure in a modern dress. It is not to my purpose to enter
into the question at present, whether this mixed style ought to be
adopted or not; yet if it is chosen it is necessary it should be complete
and all of a piece: the difference of stuffs, for instance, which make
the clothing, should be distinguished in the same degree as the head
deviates from a general idea.

Without this union, which I have so often recommended, a work can have no
marked and determined character, which is the peculiar and constant
evidence of genius. But when this is accomplished to a high degree, it
becomes in some sort a rival to that style which we have fixed as the
highest.

Thus I have given a sketch of the characters of Rubens and Salvator Rosa,
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 end