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The first germ of his speculations on this subject is to be found in two papers in the Idler. In the last paragraph of the second of these, he says:

‘If it has been proved that the painter, by attending to the invariable and general ideas of nature, produces beauty, he must, by regarding minute particularities and accidental discrimination, deviate from the universal rule, and pollute his canvas with deformity.’

In answer to this, I would say that deformity is not the being varied in the particulars, in which all things differ (for on this principle all nature, which is made up of individuals, would be a heap of deformity), but in violating general rules, in which they all or almost all agree. Thus there are no two noses in the world exactly alike, or without a great variety of subordinate parts, which may still be handsome, but a face without any nose at all, or a nose (like that of a mask) without any particularity in the details, would be a great deformity in art or nature. Sir Joshua seems to have been led into his notions on this subject either by an ambiguity of terms, or by taking only one view of nature. He supposes grandeur, or the general effect of the whole, to consist in leaving out the particular details, because these details are sometimes found without any grandeur of effect, and he therefore conceives the two things to be irreconcilable and the alternatives of each other. This is very imperfect reasoning. If the mere leaving out the detail constituted grandeur, any one could do this: the greatest dauber would at that rate be the greatest artist. A house or sign painter might instantly enter the lists with Michael Angelo, and might look down on the little, dry, hard manner of Raphael. But grandeur depends on a distinct principle of its own, not on a negation of the parts; and as it does not arise from their omission, so neither is it incompatible with their insertion or the highest finishing. In fact, an artist may give the minute particulars of any object one by one and with the utmost care, and totally neglect the proportions, arrangement, and general masses, on which the effect of the whole more immediately depends; or he may give the latter, viz. the proportions and arrangement of the larger parts and the general masses of light and shade, and leave all the minuter parts of which those parts are composed a mere blotch, one general smear, like the first crude and hasty getting in of the groundwork of a picture: he may do either of these, or he may combine both, that is, finish the parts, but put them in their right places, and keep them in due subordination to the general effect and massing of the whole. If the exclusion of the parts were necessary to the grandeur of the whole composition, if the more entire this exclusion, if the more like a tabula rasa, a vague, undefined, shadowy and abstracted representation the picture was, the greater the grandeur, there could be no danger of pushing this principle too far, and going the full length of Sir Joshua’s theory without any restrictions or mental reservations. But neither of these suppositions is true. The greatest grandeur may coexist with the most perfect, nay with a microscopic accuracy of detail, as we see it does often in nature: the greatest looseness and slovenliness of execution may be displayed without any grandeur at all either in the outline or distribution of the masses of colour. To explain more particularly what I mean. I have seen and copied portraits by Titian, in which the eyebrows were marked with a number of small strokes, like hairlines (indeed, the hairs of which they were composed were in a great measure given)–but did this destroy the grandeur of expression, the truth of outline, arising from the arrangement of these hair-lines in a given form? The grandeur, the character, the expression remained, for the general form or arched and expanded outline remained, just as much as if it had been daubed in with a blacking-brush: the introduction of the internal parts and texture only added delicacy and truth to the general and striking effect of the whole. Surely a number of small dots or lines may be arranged into the form of a square or a circle indiscriminately; the square or circle, that is, the larger figure, remains the same, whether the line of which it consists is broken or continuous; as we may see in prints where the outlines, features, and masses remain the same in all the varieties of mezzotinto, dotted and lined engraving. If Titian in marking the appearance of the hairs had deranged the general shape and contour of the eyebrows, he would have destroyed the look of nature; but as he did not, but kept both in view, he proportionably improved his copy of it. So, in what regards the masses of light and shade, the variety, the delicate transparency and broken transitions of the tints is not inconsistent with the greatest breadth or boldest contrasts. If the light, for instance, is thrown strongly on one side of a face, and the other is cast into deep shade, let the individual and various parts of the surface be finished with the most scrupulous exactness both in the drawing and in the colours, provided nature is not exceeded, this will not nor cannot destroy the force and harmony of the composition. One side of the face will still have that great and leading distinction of being seen in shadow, and the other of being seen in the light, let the subordinate differences be as many and as precise as they will. Suppose a panther is painted in the sun: will it be necessary to leave out the spots to produce breadth and the great style, or will not this be done more effectually by painting the spots of one side of his shaggy coat as they are seen in the light, and those of the other as they really appear in natural shadow? The two masses are thus preserved completely, and no offence is done to truth and nature. Otherwise we resolve the distribution of light and shade into local colouring. The masses, the grandeur exist equally in external nature with the local differences of different colours. Yet Sir Joshua seems to argue that the grandeur, the effect of the whole object, is confined to the general idea in the mind, and that all the littleness and individuality is in nature. This is an essentially false view of the subject. This grandeur, this general effect, is indeed always combined with the details, or what our theoretical reasoner would designate as littleness in nature: and so it ought to be in art, as far as art can follow nature with prudence and profit. What is the fault of Denner’s style?–It is, that he does not give this combination of properties: that he gives only one view of nature; that he abstracts the details, the finishing, the curiosities of natural appearances from the general result, truth, and character of the whole, and in finishing every part with elaborate care, totally loses sight of the more important and striking appearance of the object as it presents itself to us in nature. He gives every part of a face; but the shape, the expression, the light and shade of the whole is wrong, and as far as can be from what is natural. He gives an infinite variety of tints of the human face, nor are they subjected to any principle of light and shade. He is different from Rembrandt or Titian. The English schools, formed on Sir Joshua’s theory, give neither the finishing of the parts nor the effect of the whole, but an inexplicable dumb mass without distinction or meaning. They do not do as Denner did, and think that not to do as he did is to do as Titian and Rembrandt did; I do not know whether they would take it as a compliment to be supposed to imitate nature. Some few artists, it must be said, have ‘of late reformed this indifferently among us! Oh! let them reform it altogether!’ I have no doubt they would if they could; but I have some doubts whether they can or not.–Before I proceed to consider the question of beauty and grandeur as it relates to the selection of form, I will quote a few passages from Sir Joshua with reference to what has been said on the imitation of p
articular objects. In the Third Discourse he observes: ‘I will now add that nature herself is not to be too closely copied. . . . A mere copier of nature can never produce anything great; can never raise and enlarge the conceptions, or warm the heart of the spectator. The wish of the genuine painter must be more extensive: instead of endeavouring to amuse mankind with the minute neatness of his imitations, he must endeavour to improve them by the grandeur of his ideas; instead of seeking praise by deceiving the superficial sense of the spectator, he must strive for fame by captivating the imagination.’