There can be no doubt, but the art is better learnt from the works themselves, than from the precepts which are formed upon those works; but if it is difficult to choose proper models for imitation, it requires no less circumspection to separate and distinguish what in those models we ought to imitate.
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 real life and in painting, 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 a 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 that may not 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.