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to a history of Luca Jordano； but hence appears the necessity of the connoisseur's knowing in what consists the excellence of each class； in order to judge how near it approaches to perfection。
Even in works of the same kind； as in history painting； which is composed of various parts； excellence of an inferior species； carried to a very high degree； will make a work very valuable； and in some measure compensate for the absence of the higher kind of merits。 It is the duty of the connoisseur to know and esteem； as much as it may deserve； every part of painting； he will not then think even Bassano unworthy of his notice； who； though totally devoid of expression； sense； grace； or elegance； may be esteemed on account of his admirable taste of colours； which； in his best works； are little inferior to those of Titian。
Since I have mentioned Bassano； we must do him likewise the justice to acknowledge that； though he did not aspire to the dignity of expressing the characters and passions of men； yet； with respect to the facility and truth in his manner of touching animals of all kinds； and giving them what painters call their character； few have ever excelled him。
To Bassano we may add Paul Veronese and Tintoret； for their entire inattention to what is justly esteemed the most essential part of our art； the expression of the passions。 Notwithstanding these glaring deficiencies； we justly esteem their works； but it must be remembered that they do not please from those defects； but from their great excellences of another kind； and in spite of such transgressions。 These excellences； too； as far as they go； are founded in the truth of general nature。 They tell the truth； though not the whole truth。
By these considerations； which can never be too frequently impressed； may be obviated two errors which I observed to have been； formerly at least； the most prevalent； and to be most injurious to artists： that of thinking taste and genius to have nothing to do with reason； and that of taking particular living objects for nature。
I shall now say something on that part of taste which； as I have hinted to you before； does not belong so much to the external form of things； but is addressed to the mind； and depends on its original frame； or； to use the expression； the organisation of the soul； I mean the imagination and the passions。 The principles of these are as invariable as the former； and are to be known and reasoned upon in the same manner； by an appeal to common sense deciding upon the common feelings of mankind。 This sense； and these feelings； appear to me of equal authority； and equally conclusive。
Now this appeal implies a general uniformity and agreement in the minds of men。 It would be else an idle and vain endeavour to establish rules of art； it would be pursuing a phantom to attempt to move affections with which we were entirely unacquainted。 We have no reason to suspect there is a greater difference between our minds than between our forms； of which； though there are no two alike； yet there is a general similitude that goes through the whole race of mankind； and those who have cultivated their taste can distinguish what is beautiful or deformed； or； in other words； what agrees with or what deviates from the general idea of nature； in one case as well as in the other。
The internal fabric of our mind； as well as the external form of our bodies； being nearly uniform； it seems then to follow； of course； that as the imagination is incapable of producing anything originally of itself； and can only vary and combine these ideas with which it is furnished by means of the senses； there will be； of course； an agreement in the imaginations as in the senses of men。 There being this agreement； it follows that in all cases； in our lightest amusements as well as in our most serious actions and engagements of life； we must regulate our affections of every kind by that of others。 The well…disciplined mind acknowledges this authority； and submits its own opinion to the public voice。
It is from knowing what are the general feelings and passions of mankind that we acquire a true idea of what imagination is； though it appears as if we had nothing to do but to consult our own particular sensations； and these were sufficient to ensure us from all error and mistake。
A knowledge of the disposition and character of the human mind can be acquired only by experience： a great deal will be learned； I admit； by a habit of examining what passes in our bosoms； what are our own motives of action； and of what kind of sentiments we are conscious on any occasion。 We may suppose a uniformity； and conclude that the same effect will be produced by the same cause in the minds of others。 This examination will contribute to suggest to us matters of inquiry； but we can never be sure that our own sensations are true and right till they are confirmed by more extensive observation。
One man opposing another determines nothing but a general union of minds； like a general combination of the forces of all mankind； makes a strength that is irresistible。 In fact； as he who does not know himself does not know others； so it may be said with equal truth； that he who does not know others knows himself but very imperfectly。
A man who thinks he is guarding himself against Prejudices by resisting the authority of others； leaves open every avenue to singularity； vanity； self…conceit； obstinacy； and many other vices； all tending to warp the judgment and prevent the natural operation of his faculties。
This submission to others is a deference which we owe； and indeed are forced involuntarily to pay。
In fact we are never satisfied with our opinions till they are ratified and confirmed by the suffrages of the rest of mankind。 We dispute and wrangle for ever； we endeavour to get men to come to us when we do not go to them。
He therefore who is acquainted with the works which have pleased different ages and different countries； and has formed his opinion on them； has more materials and more means of knowing what is analogous to the mind of man than he who is conversant only with the works of his own age or country。 What has pleased； and continues to please； is likely to please again： hence are derived the rules of art； and on this immovable foundation they must ever stand。
This search and study of the history of the mind ought not to be confined to one art only。 It is by the analogy that one art bears to another that many things are ascertained which either were but faintly seen； or； perhaps； would not have been discovered at all if the inventor had not received the first hints from the practices of a sister art on a similar occasion。 The frequent allusions which every man who treats of any art is obliged to draw from others in order to illustrate and confirm his principles； sufficiently show their near connection and inseparable relation。
All arts having the same general end； which is to please； and addressing themselves to the same faculties through the medium of the senses； it follows that their rules and principles must have as great affinity as the different materials and the different organs or vehicles by which they pass to the mind will permit them to retain。
We may therefore conclude that the real substance； as it may be called； of what goes under the name of taste； is fixed and established in the nature of things； that there are certain and regular causes by which the imagination and passions of men are affected； and that the knowledge of these causes is acquired by a laborious and diligent investigation of nature； and by the same slow progress as wisdom or knowledge of every kind； however instantaneous its operations may appear when thus acquired。
It has been often observed that the good and virtuous man alone can acquire this true or just relish； even of works of art。 This opinion will not appear entirely without foundation when we consider that the same habit of mind which is acquired by our search after truth in the more serious duties of life； is only transferred to the pursuit of lighter amusements： the same disposition； the same desire to find something steady； substantial； and durable； on which the mind can lean； as it were； and rest with safety。 The subject only is changed。 We pursue the same method in our search after the idea of beauty and perfection in each； of virtue； by looking forwards beyond ourselves to society； and to the whole； of arts； by extending our views in the same manner to all ages and all times。
Every art； like our own； has in its composition fluctuating as well as fixed principles。 It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit； and what is fixed in the nature of things。
To distinguish how much has solid foundation； we may have recourse to the same proof by which some hold wit ought to be triedwhether it preserves itself when translated。 That wit is false which can subsist only in one language； and that picture which pleases only one age or one nation； owes its reception to some local or accidental association of ideas。
We may apply this to every custom and habit of life。 Thus the general principles of urbanit