Richardson, Jonathan; Egerton, Thomas [Bearb.]; Egerton, John [Bearb.]; Debrett, John [Bearb.]; Faulder, Robert [Bearb.]; Miller, W. [Bearb.]; Cuthell, J. [Bearb.]; Barker, James [Bearb.]; Jeffery, Edward [Bearb.]: 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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He has made a scale, the highest number of which is eighteen, and
denotes the highest degree to which any one hath arrived that we
know of; then he supposes the art to consist of Composition, Design,
Colouring, and Expression, of each of which he makes a separate
column, and in these puts his number, according as he judges the
master, whose name he applies them to has merited. The thing is
curious and useful; but some considerable parts of Painting being
omitted, it gives not a just idea of the masters. For example;
according to this scale, Rembrandt seems to be equal to Giulio
Romano, and superior to Michelangelo and Parmeggiano. Whereas
had he brought Invention, Greatness, Grace, &c. into the account,
it would have set the matter right, supposing he had allotted the
just degrees, which neither he, nor any one else can do so as to
please universally.

Historical