I cannot avoid mentioning here, though it is not my intention at present to enter into the art and method of study, an error which students are too apt to fall into.

He that is forming himself must look with great caution and wariness on those peculiarities, or prominent parts, which at first force themselves upon view, and are the marks, or what is commonly called the manner, by which that individual artist is distinguished.

Peculiar marks I hold to be generally, if not always, defects, however difficult it may be, wholly to escape them.

Peculiarities in the works of art are like those in the human figure; it is by them that we are cognisable and distinguished one from another, but they are always so many blemishes, which, however, both in the one case and in the other, cease to appear deformities to those who have them continually before their eyes.  In the works of art, even the most enlightened mind, when warmed by beauties of the highest kind, will by degrees find a repugnance within him to acknowledge any defects; nay, his enthusiasm will carry him so far as to transform them into beauties and objects of imitation.

It must be acknowledged that a peculiarity of style, either from its novelty, or by seeming to proceed from a peculiar turn of mind, often escapes blame; on the contrary, it is sometimes striking and pleasing; but this it is vain labour to endeavour to imitate, because novelty and peculiarity being its only merit, when it ceases to be new, it ceases to have value.

A manner, therefore, being a defect, and every painter, however excellent, having a manner, it seems to follow that all kinds of faults, as well as beauties, may be learned under the sanction of the greatest authorities.

Even the great name of Michael Angelo may be used to keep in countenance a deficiency, or rather neglect of colouring, and every other ornamental part of the art.

If the young student is dry and hard, Poussin is the same.  If his work has a careless and unfinished air, he has most of the Venetian School to support him.  If he makes no selection of objects, but takes individual nature just as he finds it, he is like Rembrandt.  If he is incorrect in the proportions of his figures, Correggio was likewise incorrect.  If his colours are not blended and united, Rubens was equally crude.

In short, there is no defect but may be excused, if it is a sufficient excuse that it can be imputed to considerable artists; but it must be remembered that it was not by these defects they acquired their reputation:  they have a right to our pardon, but not to our admiration.

However, to imitate peculiarities or mistake defects for beauties that man will be most liable who confines his imitation to one favourite master; and, even though he chooses the best, and is capable of distinguishing the real excellences of his model, it is not by such narrow practice that a genius or mastery in the art is acquired.  A man is as little likely to form a true idea of the perfection of the art by studying a single artist as he would be of producing a perfectly beautiful figure by an exact imitation of any individual living model.