These are qualities which catch the eye at a distance, yet they will not always enable the critic to decide with certainty; whether, for instance, a certain picture is the production of Vinci, or Luini, who imitated him closely; whether another be an original picture by Barocci, or an exact copy from the hand of Vanni. In such cases judges of art approach closer to the picture with a determination to examine it with the same care and accuracy as are employed in a judicial question, upon the recognition of hand-writing. Fortunately for society, nature has granted to every individual a peculiar character in this respect, which it is not easy to counterfeit, nor to mistake for any other person's writing. The hand, habituated to move in a peculiar manner, always retains it: in old age the characters may be more slowly traced, may become more negligent or more heavy; but the form of the letters remains the same. So it is in painting. Every artist not only retains this peculiarity, but one is distinguished by a full charged pencil; another by a dry but neat finish; the work of one exhibits blended tints, that of another distinct touches; and each has his own manner of laying on the colours:[16] but even in regard to what is common to so many, each has a peculiar handling and direction of the pencil, a marking of his lines more or less waved, more or less free, and more or less studied, by which those truly skilled from long experience are enabled, after a due consideration of all circumstances, to decide who was the real author. Such judges do not fear a copyist, however excellent. He will, perhaps, keep pace with his model for a certain time, but not always; he may sometimes shew a free, but commonly a timid, servile, and meagre pencil; he will not be long able, with a free hand, to keep his own style concealed under the manner of another, more especially in regard to less important points, such as the penciling of the hair, and in the fore- and back-grounds of the picture.[17] Certain observations on the canvas and the priming ground may sometimes assist inquiry; and hence some have endeavoured to attain greater certainty by a chemical analysis of the colours. Diligence is ever laudable when exerted on a point so nice as ascertaining the hand-work of a celebrated master. It may prevent our paying ten guineas for what may not be worth two; or placing in a choice collection pictures that will not do it credit; while to the curious it affords scientific views, instead of creating prejudices that often engender errors. That mistakes should happen is not surprising. A true connoisseur is still more rare than a good artist. His skill is the result of only indirect application; it is acquired amidst other pursuits, and divides the attention with other objects; the means of attaining it fall to the lot of few; and still fewer practise it successfully. Among the number of the last I do not reckon myself. By