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 alluding to the terms, inspiration, genius, gusto, applied by critics and orators to painting, proceeds:

“Such is the warmth with which both the Ancients and Moderns speak of this divine principle of the art; but, as I have formerly observed, enthusiastic admiration seldom promotes knowledge. Though a student by such praise may have his attention roused and a desire excited of running in this great career, yet it is possible that what has been said to excite may only serve to deter him. He examines his own mind, and perceives there nothing of that divine inspiration with which, he is told, so many others have been favoured. He never travelled to heaven to gather new ideas; and he finds himself possessed of no other qualifications than what mere common observation and a plain understanding can confer. Thus he becomes gloomy amidst the splendour of figurative declamation, and thinks it hopeless to pursue an object which he supposes out of the reach of human industry.”—Vol. I. p. 56.

Yet presently after he adds,

“It is not easy to define in what this great style consists; nor to describe by words the proper means of acquiring it, if the mind of the