_Imitate nature_
is the invariable rule; but I know none who have explained in what
manner this rule is to be understood; the consequence of which is,
that everyone takes it in the most obvious sense--that objects are
represented naturally, when they have such relief that they seem real.
It may appear strange, perhaps, to hear this sense of the rule
disputed; but it must be considered, that, if the excellency of a
Painter consisted only in this kind of imitation, Painting must lose
its rank, and be no longer considered as a liberal art, and sister to
Poetry: this imitation being merely mechanical, in which the slowest
intellect is always sure to succeed best; for the Painter of genius
cannot stoop to drudgery, in which the understanding has no part; and
what pretence has the Art to claim kindred with Poetry but by its
power over the imagination? To this power the Painter of genius
directs him; in this sense he studies Nature, and often arrives at his
end, even by being unnatural in the confined sense of the word.
"The grand style of Painting requires this minute attention to be
carefully avoided, and must be kept as separate from it as the style
of Poetry from that of History. (Poetical ornaments destroy that air
of truth and plainness which ought to characterize History; but the
very being of Poetry consists in departing from this plain narrative,
and adopting every ornament that will warm the imagination.
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