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the most beautiful and valuable of metals。
We have hitherto considered the advantages of imitation as it tends to
form the taste； and as a practice by which a spark of that genius may be
caught which illumines these noble works； that ought always to be present
to our thoughts。
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We come now to speak of another kind of imitation； the borrowing a
particular thought； an action； attitude； or figure； and transplanting it into
your own work： this will either come under the charge of plagiarism； or
be warrantable； and deserve commendation； according to the address with
which it is performed。 There is some difference likewise whether it is upon
the ancients or the moderns that these depredations are made。 It is
generally allowed that no man need be ashamed of copying the ancients：
their works are considered as a magazine of common property； always
open to the public； whence every man has a right to what materials he
pleases； and if he has the art of using them； they are supposed to become
to all intents and purposes his own property。
The collection which Raffaelle made of the thoughts of the ancients
with so much trouble； is a proof of his opinion on this subject。 Such
collections may be made with much more ease； by means of an art scarce
known in his time； I mean that of engraving； by which； at an easy rate；
every man may now avail himself of the inventions of antiquity。
It must be acknowledged that the works of the moderns are more the
property of their authors； he who borrows an idea from an artist； or
perhaps from a modern； not his contemporary； and so accommodates it to
his own work that it makes a part of it； with no seam or joining appearing；
can hardly be charged with plagiarism； poets practise this kind of
borrowing without reserve。 But an artist should not be contented with
this only； he should enter into a competition with his original； and
endeavour to improve what he is appropriating to his own work。 Such
imitation is so far from having anything in it of the servility of plagiarism；
that it is a perpetual exercise of the mind； a continual invention。
Borrowing or stealing with such art and caution will have a right to the
same lenity as was used by the Lacedemonians； who did not punish theft；
but the want of artifice to conceal it。
In order to encourage you to imitation； to the utmost extent； let me add；
that very finished artists in the inferior branches of the art will contribute
to furnish the mind and give hints of which a skilful painter； who is
sensible of what he wants； and is in no danger of being infected by the
contact of vicious models； will know how to avail himself。 He will pick
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up from dunghills what by a nice chemistry； passing through his own mind；
shall be converted into pure gold； and； under the rudeness of Gothic essays；
he will find original； rational； and even sublime inventions。
In the luxuriant style of Paul Veronese； in the capricious compositions
of Tintoret； he will find something that will assist his invention； and give
points； from which his own imagination shall rise and take flight； when the
subject which he treats will； with propriety； admit of splendid effects。
In every school； whether Venetian； French； or Dutch； he will find
either ingenious compositions； extraordinary effects； some peculiar
expressions； or some mechanical excellence； well worthy his attention and；
in some measure； of his imitation； even in the lower class of the French
painters； great beauties are often found united with great defects。
Though Coypel wanted a simplicity of taste； and mistook a
presumptuous and assuming air for what is grand and majestic； yet he
frequently has good sense and judgment in his manner of telling his stories；
great skill in his compositions； and is not without a considerable power of
expressing the passions； The modern affectation of grace in his works； as
well as in those of Bouche and Watteau； may be said to be separated by a
very thin partition from the more simple and pure grace of Correggio and
Parmigiano。
Amongst the Dutch painters； the correct； firm； and determined pencil；
which was employed by Bamboccio and Jan Miel on vulgar and mean
subjects； might without any change be employed on the highest； to which；
indeed； it seems more properly to belong。 The greatest style； if that style
is confined to small figures such as Poussin generally painted； would
receive an additional grace by the elegance and precision of pencil so
admirable in the works of Teniers。
Though this school more particularly excelled in the mechanism of
painting； yet there are many who have shown great abilities in expressing
what must be ranked above mechanical excellences。
In the works of Frank Hals the portrait painter may observe the
composition of a face； the features well put together as the painters
express it； from whence proceeds that strong marked character of
individual nature which is so remarkable in his portraits； and is not to be
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found in an equal degree in any other painter。 If he had joined to this
most difficult part of the art a patience in finishing what he had so
correctly planned； he might justly have claimed the place which Vandyke；
all things considered； so justly holds as the first of portrait painters。
Others of the same school have shown great power in expressing the
character and passions of those vulgar people which are the subjects of
their study and attention。 Amongst those； Jean Stein seems to be one of
the most diligent and accurate observers of what passed in those scenes
which he frequented； and which were to him an academy。 I can easily
imagine that if this extraordinary man had had the good fortune to have
been born in Italy instead of Holland；