when he had determined the parts with more precision; and another loss he often experiences, which is of greater consequence; whilst he is employed in the detail, the effect of the whole together is either forgotten or neglected. The likeness of a portrait, as I have formerly observed, consists more in preserving the general effect of the countenance, than in the most minute finishing of the features, or any of the particular parts. Now Gainsborough's portraits were often little more, in regard to finishing, or determining the form of the features, than what generally attends a dead colour; but as he was always attentive to the general effect, or whole together, I have often imagined that this unfinished manner contributed even to that striking resemblance for which his portraits are so remarkable. Though this opinion may be considered as fanciful, yet I think a plausible reason may be given, why such a mode of painting should have such an effect. It is pre-supposed that in this undetermined manner there is the general effect; enough to remind the spectator of the original; the imagination supplies the rest, and perhaps more satisfactory to himself, if not more exactly, than the artist, with all his care could possibly have done. At the same time it must be acknowledged there is one evil attending this mode; that if the portrait were seen, previous to any knowledge of the original, different persons would form different ideas, and all would be disappointed at not finding the original

correspond with their own conceptions; under the great latitude which indistinctness gives to the imagination to assume almost what character or form it pleases.

Every artist has some favourite part, on which he fixes his attention, and which he pursues with such eagerness, that it absorbs every other consideration; and he often falls into the opposite error of that which he would avoid, which is always ready to receive him. Now Gainsborough having truly a painter's eye for colouring, cultivated those effects of the art which proceed from colours; and sometimes appears to be indifferent to or to neglect other excellencies. Whatever defects are acknowledged, let him still experience from us the same candour that we so freely give upon similar occasions to the ancient masters; let us not encourage that fastidious disposition, which is discontented with every thing short of perfection, and unreasonably require, as we sometimes do, a union of excellencies, not perhaps quite compatible with each other. We may, on this ground, say even of the divine Raffaelle, that he might have finished his picture as highly and as correctly as was his custom, without heaviness of manner; and that Poussin might have preserved all his precision without hardness or dryness.

To show the difficulty of uniting solidity with lightness of manner, we may produce a picture of Rubens in the church of St. Judule, at Brussels, as an example: the subject is, Christ's charge to

Peter: which, as it is the highest, and smoothest finished picture I remember to have seen of that master, so it is by far the heaviest; and if I had found it in any other place, I should have suspected it to be a copy; for painters know very well that it is principally by this air of facility, or the want of it, that originals are distinguished from copies. A lightness of effect produced by colour, and that produced by facility of handling, are generally united; a copy may preserve something of the one, it is true, but hardly ever of the other; a connoisseur therefore finds it often necessary to look carefully into the picture before he determines on its originality. Gainsborough possessed this quality of lightness of manner and effect, I think, to an unexampled degree of excellence; but it must be acknowledged, at the same time, that the sacrifice which he made to this ornament of our art, was too great; it was, in reality, preferring the lesser excellencies to the greater.

To conclude. However we may apologize for the deficiencies of Gainsborough (I mean particularly his want of precision and finishing), who so ingeniously contrived to cover his defects by his beauties and who cultivated that department of art where such defects are more easily excused; you are to remember, that no apology can be made for this deficiency, in that style which this Academy teaches, and which ought to be the

object of your pursuit. It will be necessary for you, in the first place, never to lose sight of the great rules and principles of the art, as they are collected from the full body of the best general practice, and the most constant and uniform experience; this must be the ground-work of all your studies: afterwards you may profit, as in this case I wish you to profit, by the peculiar experience and personal talents of artists living and dead; you may derive lights, and catch hints, from their practice; but the moment you turn them into models, you fall infinitely below them; you may be corrupted by excellencies, not so much belonging to the art, as personal and appropriated to the artist; and become bad copies of good painters, instead of excellent imitators of the great universal truth of things.