whole mind, and more
powerfully accomplishes his purpose. This success is ignorantly imagined
to proceed from inattention to all rules, and in defiance of reason and
judgment; whereas it is in truth acting according to the best rules, and
the justest reason.

He who thinks nature, in the narrow sense of the word, is alone to be
followed, will produce but a scanty entertainment for the imagination:
everything is to be done with which it is natural for the mind to be
pleased, whether it proceeds from simplicity or variety, uniformity or
irregularity: whether the scenes are familiar or exotic; rude and wild,
or enriched and cultivated; for it is natural for the mind to be pleased
with all these in their turn. In short, whatever pleases has in it what
is analogous to the mind, and is therefore, in the highest and best sense
of the word, natural.

It is this sense of nature or truth which ought more particularly to be
cultivated by the professors of art; and it may be observed that many
wise and learned men, who have accustomed their minds to admit nothing
for truth but what can be proved by mathematical demonstration, have
seldom any relish for those arts which address themselves to the fancy,
the rectitude and truth of which is known by another kind of proof: and
we may add that the acquisition of this knowledge requires as much
circumspection and sagacity, as to attain those truths which are more
open to demonstration. Reason must ultimately determine our choice on
every occasion; but this reason may still be exerted ineffectually by
applying to taste principles which, though right as far as they go, yet
do not reach the object. No man, for instance, can deny that it seems at
first view very reasonable, that a statue which is to carry down to
posterity the resemblance of an individual should be dressed in the
fashion of the times, in the dress which he himself wore: this would
certainly be true if the dress were part of the man. But after a time
the dress is only an amusement for an antiquarian; and if it obstructs
the general design of the piece, it is to be disregarded by the artist.
Common sense must here give way to a higher sense.

In the naked form, and in the disposition of the drapery, the difference
between one artist and another is principally seen. But if he is
compelled to the modern dress, the naked form is entirely hid, and the
drapery is already disposed by the skill of the tailor. Were a Phidias