So far, indeed, is the presence of Genius from implying an absence of faults, that they are considered by many as its inseparable companions. Some go such lengths as to take indication from them, and not only excuse faults on account of Genius, but presume Genius from the existence of certain faults. It is certainly true, that a work may justly claim the character of Genius, though full of errors; and it is equally true, that it may be faultless, and yet not exhibit the least spark of Genius. This naturally suggests an inquiry, a desire, at least, of inquiring, what qualities of a work and of a workman may justly entitle a Painter to that character. I have in a former discourse[13] endeavoured to impress you with a fixed opinion, that a comprehensive and critical knowledge of the works of nature is the only source of beauty and grandeur. But when we speak to Painters, we must always consider this rule, and all rules, with a reference to the mechanical practice of their own particular Art. It is not properly in the learning, the taste, and the dignity of the ideas, that Genius appears as belonging to a Painter. There is a Genius particular appropriated to his own trade, (as I may call it) distinguished from all others. For that power, which enables the Artist to conceive his subject with dignity, may be said to belong to general education; and is as much the Genius of a Poet, or the professor of any other liberal Art, or even a good critic in any of those arts, as of a Painter. Whatever sublime ideas may fill his mind, he is a Painter, only as he can put in practice what he knows, and communicate those ideas by visible representation. If my expression can convey my idea, I wish to distinguish excellence of this kind by calling it the Genius of mechanical performance. This Genius consists, I conceive, in the power of expressing that which employs your pencil, whatever it may be, _as a whole_; so that the general effect and power of the whole may take possession of the mind, and for a while suspend the consideration of the subordinate and particular beauties or defects. The advantage of this method of considering objects is what I wish now more particularly to enforce. At the same time I do not forget, that a Painter must have the power of contracting as well as dilating his sight; because, he that does not at all express particulars, expresses nothing; yet it is certain, that a nice discrimination of minute circumstances, and a punctilious delineation of them, whatever excellence it may have (and I do not mean to detract from it) never did confer on the Artist the character of Genius.