However, to imitate peculiarities, or mistake defects for beauties, that man will be most liable who confines his imitation to one favourite master; and even though he chooses the best, and is capable of distinguishing the real excellencies of his model, it is not by such narrow practice that a genius or mastery in the art is acquired. A man is as little likely to form a true idea of the perfection of the art by studying a single artist, as he would be to produce a perfectly beautiful figure, by an exact imitation of any individual living model. And as the painter, by bringing together in one piece those beauties which are dispersed among a great variety of individuals, produces a figure more beautiful than can be found in nature, so that artist who can unite in himself the excellencies of the various great painters, will approach nearer to perfection than any one of his masters. He who confines himself to the imitation of an individual, as he never proposes to surpass, so he is not likely to equal, the object of his imitation. He professes only to follow; and he that follows must necessarily be behind. We should imitate the conduct of the great artists in the course of their studies, as well as the works which they produced, when they were perfectly formed. Raffaelle began by imitating implicitly the manner of Pietro Perugino, under whom he studied: hence his first works are scarce to be distinguished from his master's; but soon forming higher and more extensive views, he imitated the grand outline of Michel Angelo: he learned the manner of using colours from the works of Leonardo da Vinci, and Fratre Bartolomeo: to all this he added the contemplation of all the remains of antiquity that were within his reach, and employed others to draw for him what was in Greece and distant places. And it is from his having taken so many models, that he became himself a model for all succeeding painters; always imitating, and always original. If your ambition, therefore, be to equal Raffaelle, you must do as Raffaelle did, take many models, and not even _him_ for your guide alone, to the exclusion of others.[4] And yet the number is infinite of those who seem, if one may judge by their style, to have seen no other works but those of their master, or of some favourite, whose _manner_ is their first wish, and their last.