I cannot avoid mentioning here a circumstance in portrait-painting which may help to confirm what has been said. When a portrait is painted in the Historical Style, as it is neither an exact minute representation of an individual, nor completely ideal, every circumstance ought to correspond to this mixture. The simplicity of the antique air and attitude, however much to be admired, is ridiculous when joined to a figure in a modern dress. It is not to my purpose to enter into the question at present, whether this mixed style ought to be adopted or not; yet if it is chosen, it is necessary it should be complete, and all of a piece; the difference of stuffs, for instance, which make the clothing, should be distinguished in the same degree as the head deviates from a general idea. Without this union, which I have so often recommended, a work can have no marked and determined character, which is the peculiar and constant evidence of genius. But when this is accomplished to a high degree, it becomes in some sort a rival to that style which we have fixed as the highest. Thus I have given a sketch of the characters of Rubens and Salvator Rosa, as they appear to me to have the greatest uniformity of mind throughout their whole work. But we may add to these, all those Artists who are at the head of a class, and have had a school of imitators from Michel Angelo down to Watteau. Upon the whole it appears that, setting aside the Ornamental Style, there are two different modes, either of which a Student may adopt without degrading the dignity of his art. The object of the first is to combine the higher excellencies and embellish them to the greatest advantage; of the other, to carry one of these excellencies to the highest degree. But those who possess neither must be classed with them, who, as Shakespeare says, are _men of no mark or likelihood_. I inculcate as frequently as I can your forming yourselves upon great principles and great models. Your time will be much misspent in every other pursuit. Small excellencies should be viewed, not studied; they ought to be viewed, because nothing ought to escape a Painter's observation: but for no other reason. There is another caution which I wish to give you. Be as select in those whom you endeavour to please, as in those whom you endeavour to imitate. Without the love of fame you can never do anything excellent; but by an excessive and undistinguishing thirst after it, you will come to have vulgar views; you will degrade your style; and your taste will be entirely corrupted. It is certain that the lowest style will be the most popular, as it falls within the compass of ignorance itself; and the Vulgar will always be pleased with what is natural, in the confined and misunderstood sense of the word.