Richardson, Jonathan; Egerton, Thomas [Oth.]; Egerton, John [Oth.]; Debrett, John [Oth.]; Faulder, Robert [Oth.]; Miller, W. [Oth.]; Cuthell, J. [Oth.]; Barker, James [Oth.]; Jeffery, Edward [Oth.]: The Works Of Jonathan Richardson: Containing I. The Theory Of Painting. II. Essay On The Art Of Criticism, (So far as it relates to Painting). III. The Science Of A Connoisseur : The Whole intended as a Supplement to the Anecdotes of Painters and Engravers ([London]: Sold by T. and J. Egerton; J. Debrett; R. Faulder, and W. Miller; J. Cuthell; J. Barker; and E. Jeffrey, 1792)

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That this maxim is true, will appear by an academy figure drawn
by one ignorant in the stru&ure, and knitting of the bones, and
anatomy, compared with another who understands these thoroughly:
or by comparing a portrait of the same person drawn by one unac-
quainted with the works of the bed matters, and another of the hand
of one to whom those excellent works are no strangers: both see the
same life, but with different eyes. The former sees it as one
unsilled in music hears a consert, or instrument, the other as a
matter in that science: these hear equally, but not with like distinc-
tion of sounds, and observation of the sltill of the composer.
Michelangelo was the moll learned, and correct designer of all
the moderns, if Rasaelle were not his equal, or as some will have it,
superior. The Roman and Florentine schools have excelled all
others in this fundamental part of Painting, and of the first Rafaelle,
Giulio Romano, Polydore, Pierino del Vaga, &c. as Michelangelo,
Leonardo da Vinci, Andrea del Sarto, &c. have been the best of
the Florentines. Of the Bolognese, Annibale Caracci, and Do-
minchino, have been excellent deligners.
When a painter intends to make a history (for example) the way
commonly is to design the thing in his mind, to consider what
figures to bring in, and what they are to think, say, or do; and then
to sketcli upon paper this idea of his; and not only the invention,
but composition of his intended picture : this he may alter upon the
same paper, or by making other sketches, till he is pretty well deter-
mined as to that; (and this is that first sense, in which I said the
term drawing, or designing was to be understood.) In the next
place his business is to consult the life, and to make drawings of
particular figures, or parts of figures, or of what else he intends to
bring into his work, as he finds necessary; together also with such
ornaments, or other things of his invention, as vases, frizes, tro-
phies, &c. till he has brought his pidure to some perfection on
paper, either in these loose studies, or in one entire drawing, which
has