It places a full reliance neither on art nor nature, but consists in a kind of fastidious tampering with both. Both genius and industry are put out of countenance in turn. The height of invention is made to consist in compiling from others, and the perfection of imitation in not copying from nature. We lose the substance of the art in catching at a shadow, and are thought to embrace a cloud for a Goddess! That we may not seem to prejudge the question, we shall state at once, and without further preface, the principal points in the Discourses which we deem either wrong in themselves, or liable to misconception and abuse. They are the following:— 1. _That genius or invention consists chiefly in borrowing the ideas of others, or in using other men’s minds._ 2. _That the great style in painting depends on leaving out the details of particular objects._ 3. _That the essence of portrait consists in giving the general character, rather than the individual likeness._ 4. _That the essence of history consists in abstracting from individuality of character and expression as much as possible._ 5. _That beauty or ideal perfection consists in a central form._ 6. _That to imitate nature is a very inferior object in art._ All of these positions appear to require a separate consideration, which we shall give them in the following articles on this subject. ON GENIUS AND ORIGINALITY _The Champion._] [_December 4, 1814_ It is a leading and favourite position of the Discourses that genius and invention are principally shewn in borrowing the ideas, and imitating the excellences of others. Differing entirely from those ‘who have undertaken to write on the art of painting, and have represented it as a kind of _inspiration_, as a _gift_ bestowed upon peculiar favourites at their birth,’ Sir Joshua proceeds to add, ‘I am, on the contrary, persuaded, that by imitation only,’ (that is, of former masters,) ‘variety and even originality of invention is produced. I will go further! even genius, at least what is generally called so, is the child of imitation.’ ‘There can be no doubt but that he who has most materials has the greatest means of invention; and if he has not the power of using them, it must proceed from a feebleness of intellect.’ ‘Study is the art of using other men’s minds.’ ‘It is from Raphael’s having taken so many models, that he became himself a model for all succeeding painters; always imitating, and always original.’ Vol. i. p. 151, 159, 169, &c. All that Sir Joshua says on this subject, is either vague and contradictory, or has an evident bias the wrong way. That genius either consists in, or is in any proportion to, the knowledge of what others have done, in any branch of art or science, is a paradox which hardly admits serious refutation. The answer is indeed so obvious and so undeniable, that one is almost ashamed to give it. As it happens in all