Our pleasure is not in minute imitation; for, in fact, that is not true imitation, for it forces upon our notice that which naturally we do not see. We are not pleased with wax-work, which may be nearer reality; "we are pleased, on the contrary, by seeing ends accomplished by seemingly inadequate means." If this be sound, we ought to be sensible of the inadequacy of the means, which sets aside at once the common notion that art is illusion. "The properties of all objects, as far as the painter is concerned with them, are outline or drawing, the colour, and the light and shade. The drawing gives the form, the colour its visible quality, and the light and shade its solidity:" in every one of these the habit of seeing as a whole must be acquired. From this habit arises the power of imitating by "dexterous methods." He proceeds to show that the fame of the greatest painters does not rest upon their high finish. Raffaelle and Titian, one in drawing the other in colour, by no means finished highly; but acquired by their genius an expressive execution. Most of his subsequent remarks are upon practice in execution and colour, in contradistinction to elaborate finish. Vasari calls Titian, "giudicioso, bello, e stupendo," with regard to this power. He generalized by colour, and by execution. "In his colouring, he was large and general." By these epithets, we think Sir Joshua has admitted that the great style comprehends colouring. "Whether it is the human figure, an animal, or even inanimate objects, there is nothing, however unpromising in appearance, but may be raised into dignity, convey sentiment, and produce emotion, in the hands of a painter of genius." He condemns that high finish which softens off. "This extreme softening, instead of producing the effect of softness, gives the appearance of ivory, or some other hard substance, highly polished. The value set upon drawings, such as of Coreggio and Parmegiano, which are but slight, show how much satisfaction can be given without high finishing, or minute attention to particulars. "I wish you to bear in mind, that when I speak of a whole, I do not mean simply _a whole_ as belonging to composition, but _a whole_ with respect to the general style of colouring; _a whole_ with regard to light and shade; and _a whole_ of every thing which may separately become the main object of a painter. He speaks of a landscape painter in Rome, who endeavoured to represent every individual leaf upon a tree; a few happy touches would have given a more true resemblance. There is always a largeness and a freedom in happy execution, that finish can never attain. Sir Joshua says above, that even "unpromising" subjects may be thus treated. There is a painter commonly thought to have finished highly, by those who do not look into his manner, whose dexterous, happy execution was perhaps never surpassed; the consequence is, that there is "a largeness," in all his pictures. We mean Teniers.