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produces； but also the nature and internal fabric and organisation； as I may
call it； of the human mind and imagination： general ideas； beauty； or
nature； are but different ways of expressing the same thing； whether we
apply these terms to statues； poetry； or picture。 Deformity is not nature；
but an accidental deviation from her accustomed practice。 This general
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idea therefore ought to be called nature； and nothing else； correctly
speaking； has a right to that name。 But we are so far from speaking； in
common conversation； with any such accuracy； that； on the contrary； when
we criticise Rembrandt and other Dutch painters； who introduced into
their historical pictures exact representations of individual objects with all
their imperfections； we say； though it is not in a good taste； yet it is nature。
This misapplication of terms must be very often perplexing to the
young student。 Is not； he may say； art an imitation of nature？ Must he not；
therefore； who imitates her with the greatest fidelity be the best artist？
By this mode of reasoning Rembrandt has a higher place than Raffaelle。
But a very little reflection will serve to show us that these particularities
cannot be nature： for how can that be the nature of man； in which no two
individuals are the same？
It plainly appears that as a work is conducted under the influence of
general ideas or partial it is principally to be considered as the effect of a
good or a bad taste。
As beauty therefore does not consist in taking what lies immediately
before you； so neither； in our pursuit of taste； are those opinions which we
first received and adopted the best choice； or the most natural to the mind
and imagination。
In the infancy of our knowledge we seize with greediness the good
that is within our reach； it is by after…consideration； and in consequence of
discipline； that we refuse the present for a greater good at a distance。 The
nobility or elevation of all arts； like the excellence of virtue itself； consists
in adopting this enlarged and comprehensive idea； and all criticism built
upon the more confined view of what is natural； may properly be called
shallow criticism； rather than false； its defect is that the truth is not
sufficiently extensive。
It has sometimes happened that some of the greatest men in our art
have been betrayed into errors by this confined mode of reasoning。
Poussin； who； upon the whole； may be produced as an instance of
attention to the most enlarged and extensive ideas of nature； from not
having settled principles on this point； has in one instance at least； I think；
deserted truth for prejudice。 He is said to have vindicated the conduct of
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Julio Romano； for his inattention to the masses of light and shade； or
grouping the figures； in the battle of Constantine； as if designedly
neglected； the better to correspond with the hurry and confusion of a battle。
Poussin's own conduct in his representations of Bacchanalian triumphs
and sacrifices； makes us more easily give credit to this report； since in
such subjects； as well indeed as in many others； it was too much his own
practice。 The best apology we can make for this conduct is what
proceeds from the association of our ideas； the prejudice we have in
favour of antiquity。 Poussin's works； as I have formerly observed； have
very much the air of the ancient manner of painting； in which there are not
the least traces to make us think that what we call the keeping； the
composition of light and shade； or distribution of the work into masses；
claimed any part of their attention。 But surely whatever apology we may
find out for this neglect； it ought to be ranked among the defects of
Poussin； as well as of the antique paintings； and the moderns have a right
to that praise which is their due； for having given so pleasing an addition
to the splendour of the art。
Perhaps no apology ought to be received for offences committed
against the vehicle （whether it be the organ of seeing or of hearing） by
which our pleasures are conveyed to the mind。 We must take the same
care that the eye be not perplexed and distracted by a confusion of equal
parts； or equal lights； as of offending it by an unharmonious mixture of
colours。 We may venture to be more confident of the truth of this
observation； since we find that Shakespeare； on a parallel occasion； has
made Hamlet recommend to the players a precept of the same kind； never
to offend the ear by harsh sounds：… 〃In the very torrent； tempest； and
whirlwind of your passions；〃 says he； 〃you must beget a temperance that
may give it smoothness。〃 And yet； at the same time； he very justly
observes； 〃The end of playing； both at the first and now； is to hold； as it
were； the mirror up to nature。〃 No one can deny but that violent passions
will naturally emit harsh and disagreeable tones； yet this great poet and
critic thought that this imitation of nature would cost too much； if
purchased at the expense of disagreeable sensations； or； as he expresses it；
of 〃splitting the ear。〃 The poet and actor； as well as the painter of genius
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who is well acquainted with all the variety and sources of pleasure in the
mind and imagination； has little regard or attention to common nature； or
creeping after common sense。 By overleaping those narrow bounds； he
more effectually seizes the whole mind； and more powerfully
accomplishes his purpose。 This success is ignorantly imagined to
proceed from inattention to all rules； and in defiance of reason and
judgment； whereas it is in truth acting according to the best rules； an