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 man could be taught to do this, and a great deal more, merely by the observance of certain precepts; the name of Genius then shifted its application, and was given only to him who added the peculiar character of the object he represented; to him who had invention, expression, grace, or dignity; in short, those qualities or excellencies, the power of producing which could not then be taught by any known and promulgated rules.

“We are very sure that the beauty of form, the expression of the passions, the art of composition, even the power of giving a general air of grandeur to a work, is at present very much under the dominion of rules. These excellencies were heretofore considered merely as the effects of genius; and justly, if genius is not taken for inspiration, but as the effect of close observation and experience.”—, Vol. I. p. 153.

Sir Joshua began with undertaking to show that “genius was the child of the imitation of others, and now it turns out not to be inspiration indeed, but the effect of close observation and experience.” The whole drift of this argument appears to be contrary to what the writer intended, for the obvious inference is that the essence of genius consists entirely, both in kind and degree,