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53. The painters
therefore, or the connoisseurs, are the persons who will best perceive the truth of imitation, and best burberry sale judge of its merit. It is true, some persons may be acquainted with certain objects, even better than the painters themselves, as the shoemaker was with the shoe in the picture of Apelles; but most persons, like the same shoemaker, are unfit to extend their judgment beyond their last; and must, in other parts, yield to the more general knowledge of the painter. As we are, in the first place, pleased with viewing imitation; so we are, in the second place, with considering the art by which the imitation is performed. The pleasure we derive from this, is in proportion to the difficulty we apprehend in the execution, and the degree of genius necessary to the performance of it. But this difficulty, and the degree of genius exerted in surmounting Burberry Outlet Online it, can only be well known to the persons exercised in the practice of the art. When a person has acquired an exact idea of an object, there is still a great difficulty in expressing that correctly upon his canvas. With regard to objects of a steady figure, they may, perhaps, be imitated by an ordinary artist; but transient objects, of a momentary appearance, require still a nicer liand. To catch burberry outlet the more delicate expressions of the human soul, requires an art of which few are possessed, and none can sufficiently admire, but those who have themselves attempted it. These are the difficulties of painting, in forming even a correct outline; and the painter has yet more to struggle with. To represent a solid upon a plane surface^ by the position and size of the several parts; to be exact in perspective; by these, and by the distribution of light and shade, to make every figure stand out from the canvas; and lastly, by natural and glowing colours to animate and give life to the whole: these are parts of the painter's art, from which chiefly the pleasure of the spectator, arising from his consciousness of the imitation, is derived, but, at the same time, such as the uninformed spectator has but an imperfect notion of, and therefore must feel an inferior degree of pleasure in contemplating. The next source of the pleasures derived from painting, above taken notice of, is that arising from the beauty, the grace, the elegance of the objects imitated. When a painter is happy enough to make such a choice, he does it by a constitutional taste that may be common to all. Raphael could not learn it from his master Pietro Perugino; Huberts, though conversant with the best models of antiquity, could never acquire it. In judging, therefore, of this part of painting, the artist has scarcely any advantage above the common spectator. But it is to be observed, that a person of the finest natural taste cannot become suddenly an elegans formarum spectator, an expression which it is scarce possible to translate. It is only by comparison that we arrive at the knowledge of what is most perfect in its kind



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