dexterity, without a steady attention to obtain a thorough knowledge of nature, without that finishing elegance suggested by the rules of art, the advice of connoisseurs, and the examples of eminent masters?
In the qualifications of the artist are described those of the man of letters; his attention, occupied by nature, should follow theory as a guide; the example of others should supply the deficiencies of his own experience. Seldom are theory and practice distinctly ascertained. In applying what has been said of authors, to readers, or mere judges of literature, I cannot but express a wish, that these would shew a still greater share of diffidence in deciding upon works beyond their own abilities to produce.
Thus, having described the science from which I propose to deduce the principles of this subject, I have rather pointed out the eminence to which others may attain, than that to which I myself presume to aspire. In shewing the sources from which this theory must be derived, I have merely sketched its outlines. To present a full display of the different branches of elegant learning, is not my intention: but, by diffusing some general ideas of taste and composition among my young countrymen, I hope to exhibit to them a source of fresh delight, and to guard them against passing an unfair judgment upon those who rather deserve an equitable sentence, as their ambition frequently aims no farther than to the instruction and entertainment of their readers. Though in consulting those profound authors, whose insight into human nature has enabled
them
