have heard of 'snatching a
grace beyond the reach of art,' but could never comprehend its meaning.

It is 'natural to be more captivated with what is brilliant than with
what is solid, and to prefer splendid negligence to painful and
humiliating exactness.'

Mere novelty and peculiarity, having no other merits, when it ceases to
be new, it ceases to have value.

That which is solely addressed to the _eye_, is certainly inferior to
that which is addressed to the imagination.

If too much indulgence is given to peculiarity, _mannerism_ will be sure
to be the result!

'A facility in composing, a lively and masterly handling, are
captivating qualities to young minds: they endeavour to imitate these
dazzling excellencies, and, after much time spent in the frivolous
pursuit, find, when too late, the difficulty of retreat; and there is
scarce an instance of return to scrupulous labour, after the mind has
been deceived by this fallacious mastery. By this useless industry,
whilst boys, they have arrived at their _utmost perfection_; they have
taken the shadow for the substance; and make the mechanical felicity
the chief excellence of the art, whilst it is one of the most dangerous
sources of corruption. They wish to find some shorter path to
excellence, and hope to obtain the reward of eminence by other means
than those, which the indispensable rules of art have prescribed. But
whatever the force of genius may be, there is no _easy_ method of
becoming a good painter.'

There is no mechanism in painting; for those, who by a clever handling,
possess this quality to the greatest perfection, are rarely found to
excel in the higher realities of art.

It is to the _whole_--the absolute and entire impression--the
disposition of pictorial matter and auxiliaries, that imply ability and
power in their treatment.

Do not let the love of novelty induce you to leave the beaten path of
excellence; for all endeavours to surprise and please by that which is
uncommon or new, will be attended with defeat; a matter, oftener the
result of idleness and caprice, than the striking effect of a mind
well-regulated and devoted to study.

Style, manner, handling, are for the most part matters of tact,
distinguishing one painter from another, quite as much as one man's
manners are known from another's. Where the inferior and subordinate
pursuit of skill in _handling_ or execution is aimed at, it tends
universally to form a _mannerist_; and thi