picture, being a _copy_ from nature, a kind of analogy is established:
they are both on even superfices, and both give the idea of something
_beyond_ their superfices. In viewing your picture in this manner, keep
one eye shut: seeing from both eyes surround the objects too much.

Looking at your picture through the medium of a glass, blackened on one
side, will, in divesting it of colour, show only its light and shade.
This is a capital way of ascertaining if the latter is right.

In painting, it is a good plan to leave _all you can_ to the
imagination! it is _flattering_ to the beholder; it gives him latitude
for the exertion of his own mind; and _he_ will supply, better than
_you_, what you wanted, entirely to his own satisfaction--and, of
course, to yours: deprive him of this, and you seldom fail to imbue him
with apathy. _His_ imagination assumes characters and forms of its own;
you have set it painting: he _finishes_ your picture, and is happy,
because he has had something to do with it; and he will not quarrel with
you, lest he should blame himself.

Painting should possess 'brilliancy without gaudiness, solidity without
harshness, truth without familiarity, and sweetness without insipidity;
all conjoined in the greatest breadth of colour.'

If a work possess the known and admitted excellencies of painting,
although in the smallest and most moderate degree, it will have the
peculiar appearance of _looking well_, which the want of them would
quite invest with another character. The _faults_ of a great mind,
capable of the greatest beauties, will never appear to have a vulgar
origin.

It is just possible a picture may possess no defects, nor any beauties;
but he who thinks entirely for himself, will give to his work an
appearance of originality; he will be consistent with _himself!_ even
faults will appear with some lustre in those to whom they are quite
natural.

In conclusion, jealously endeavour to ascertain if any thing has been
admitted, or omitted, that, consistent with these rules, may prejudice
the general harmony of the work in the _ensemble_.

If I have made use of any contradictory observations, it was because I
was impressed with the usefulness of their application to the principle
described; in which matter I may take shelter under the noblest
authorities of the Italian, English, or French, who have written on art.
I likewise trust I have said nothing the student will have to unlearn.

In a wor