Perhaps, Sir, some of your objections may have been omitted: if so, it was against my will——and at this instant, I remember one concerning the Greek art of changing blue eyes to black ones. Dioscorides is the only writer that mentions it[323]. Attempts of this kind have been made in our days: a certain Silesian countess was the favourite beauty of the age, and universally acknowledged to be perfect, had it not been for her blue eyes, which some of her admirers wished were black. The lady, informed of the wishes of her adorers, by repeated endeavours overcame nature; her eyes became black,—and she blind. I am not satisfied with myself, nor perhaps have given you satisfaction: but the art is inexhaustible, and all cannot be written. I only wanted to amuse myself agreeably at my leisure hours; and the conversation of my friend FREDERIC OESER, a true imitator of Aristides, the painter of the soul, was not a little favourable to my purpose: the name of which worthy friend and artist[324] shall spread a lustre over the end of my treatise. INSTRUCTIONS FOR THE CONNOISSEUR. ——_Non, si quid turbida ROMA_ _Elevet, accedas: examenve improbum in illa_ _Castiges trutina: nec te quæsiveris extra._ _Nam Romæ est Quis non?_—— You call yourself a _Connoisseur_, and the first thing you gaze at, in considering works of art, is the workmanship, the delicacy of the pencilling, or the polish given by the chissel.——It was the idea however, its grandeur or meanness, its dignity, fitness, or unfitness, that ought first to have been examined: for industry and talents are independent of each other. A piece of painting or sculpture cannot, merely on account of its having been laboured, claim more merit than a book of the same sort. To work curiously, and with unnecessary refinements, is as little the mark of a great artist, as to write learnedly is that of a great author. An image anxiously finished, in every minute trifle, may be fitly compared to a treatise crammed with quotations of books, that perhaps were never read. Remember this, and you will not be amazed at the laurel leaves of _Bernini_’s Apollo and Daphne, nor at the net held by _Adams_’s statue of water at Potzdam: you will only be convinced that workmanship is not the standard which distinguishes the antique from the modern. Be attentive to discover whether an artist had ideas of his own, or only copied those of others; whether he knew the chief aim of all art, Beauty, or blundered through the dirt of vulgar forms; whether he performed like a man, or played only like a child.