that imitation is as hurtful to the more advanced student as it was
advantageous to the beginner.

For my own part, I confess I am not only very much disposed to lay down
the absolute necessity of imitation in the first stages of the art, but
am of opinion that the study of other masters, which I here call
imitation, may be extended throughout our whole life without any danger
of the inconveniences with which it is charged, of enfeebling the mind,
or preventing us from giving that original air which every work
undoubtedly ought always to have.

I am, on the contrary, persuaded that by imitation only, variety, and
even originality of invention is produced.

I will go further; even genius, at least what generally is so called, is
the child of imitation. But as this appears to be contrary to the
general opinion, I must explain my position before I enforce it.

Genius is supposed to be a power of producing excellences which are out
of the reach of the rules of art--a power which no precepts can teach,
and which no industry can acquire.

This opinion of the impossibility of acquiring those beauties which stamp
the work with the character of genius, supposes that it is something more
fixed than in reality it is, and that we always do, and ever did agree,
about what should be considered as a characteristic of genius.

But the truth is that the degree of excellence which proclaims genius is
different in different times and different places; and what shows it to
be so is that mankind have often changed their opinion upon this matter.

When the arts were in their infancy, the power of merely drawing the
likeness of any object was considered as one of its greatest efforts.

The common people, ignorant of the principles of art, talk the same
language even to this day. But when it was found that every 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 those who added the peculiar character of the object
they represented; to those who had invention, expression, grace, or
dignity; or, in short, such qualities or excellences the producing of
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 your work, is at present very much under the domin