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 degrees loses its power of becoming active when exertion is necessary?”—Once more to point out the fluctuation in Sir Joshua’s notions on this subject of the advantages of natural genius and artificial study, he says, when recommending the proper objects of ambition to the young artist—

“My advice in a word is this: keep your principal attention fixed upon the higher excellencies. If you compass them, and compass nothing more, you are still in the first class. We may regret the innumerable beauties which you may want; you may be very imperfect; but still you are an imperfect artist of the highest order.” Vol. I. p. 116.

This is the Fifth Discourse. In the Seventh our artist seems to waver, and flings a doubt on his former decision, whereby “it loses some colour.”

“Indeed perfection in an inferior style may be reasonably preferred to mediocrity in the highest walks of art. A landscape of Claude Lorraine may be preferred to a history by Luca Giordano: but hence appears the neces-