sentence upon the things compared, drives
us towards the object proportioned to our faculties, by an impulse
gentle, yet irresistible; for the harmonick system of the Universe, and
the reciprocal magnetism of similar natures, are always operating
towards conformity and union; nor can the powers of the soul cease from
agitation, till they find something on which they can repose." To this
nothing was opposed; and Amaranthia was acknowledged to excel Chloris.

Of the rest you may expect an account from,

Sir, yours,

ROBIN SPRITELY.

No. 79. SATURDAY, OCTOBER 20, 1759.

TO THE IDLER.

Sir,

Your acceptance of a former letter on painting gives me encouragement to
offer a few more sketches on the same subject.

Amongst the painters, and the writers on painting, there is one maxim
universally admitted and continually inculcated. _Imitate nature_ is the
invariable rule; but I know none who have explained in what manner this
rule is to be understood; the consequence of which is, that every one
takes it in the most obvious sense, that objects are represented
naturally when they have such relief that they seem real. It may appear
strange, perhaps, to hear this sense of the rule disputed; but it must
be considered, that, if the excellency of a painter consisted only in
this kind of imitation, painting must lose its rank, and be no longer
considered as a liberal art, and sister to poetry, this imitation being
merely mechanical, in which the slowest intellect is always sure to
succeed best: for the painter of genius cannot stoop to drudgery, in
which the understanding has no part; and what pretence has the art to
claim kindred with poetry, but by its powers over the imagination? To
this power the painter of genius directs his aim; in this sense he
studies nature, and often arrives at his end, even by being unnatural in
the confined sense of the word.

The grand style of painting requires this minute attention to be
carefully avoided, and must be kept as separate from it as the style of
poetry from that of history. Poetical ornaments destroy that air of
truth and plainness which ought to characterize history; but the very
being of poetry consists in departing from this plain narration, and
adopting every ornament that will warm the imagination. To desire to see
the excellencies of each style united, to mingle the Dutch with the
Italian school, is to join contrarieties which cannot subsist together,
and which destro