But Diderot knew well enough that Chardin's kindly principle might easily be carried too far. In general, he said, criticism displeases me; it supposes so little talent. "What a foolish occupation, that of incessantly hindering ourselves from taking pleasure, or else making ourselves blush for the pleasure that we have taken! And that is the occupation of criticism!"[37] Yet in one case he writes a score of pages of critical dialogue, in which the chief interlocutor is a painter who avenges his own failure by stringent attacks on the work of happier rivals of the year. And speaking in his own proper person, Diderot knows how to dismiss incompetence with the right word, sometimes of scorn, more often of good-natured remonstrance. Bad painters, a Parrocel, a Brenet, fare as ill at his hands as they deserved to do. He remarks incidentally that the condition of the bad painter and the bad actor is worse than that of the bad man of letters: the painter hears with his own ears the expressions of contempt for his talent, and the hisses of the audience go straight to the ears of the actor, whereas the author has the comfort of going to his grave without a suspicion that you have cried out at every page: "_The fool, the animal, the jackass!_" and have at length flung his book into a corner. There is nothing to prevent the worst author, as he sits alone in his library, and reads himself over and over again, from congratulating himself on being the originator of a host of rare and felicitous ideas.[38] [37] xii. 8, 79. [38] xi. 149. The one painter whom Diderot never spares is Boucher, who was an idol of the time, and made an income of fifty thousand livres a year out of his popularity. He laughs at him as a mere painter of fans, an artist with no colours on his palette save white and red. He admits the fecundity, the _fougue_, the ease of Boucher, just as Sir Joshua Reynolds admits his grace and beauty and good skill in composition.[39] Boucher, says Diderot, is in painting what Ariosto is in poetry, and he who admires the one is inconsistent if he is not mad for the other. What is wanting is disciplined taste, more variety, more severity. Yet he cannot refuse to concede about one of Boucher's pictures that after all he would be glad to possess it. Every time you saw it, he says, you would find fault with it, yet you would go on looking at it.[40] This is perhaps what the severest modern amateur, as he strolls carelessly through the French school at his leisure, would not in his heart care to deny. [39] See Reynolds's Twelfth Discourse, p. 106. [40] x. 102.