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of invention, composition, design, drawing, anatomy, perspective, light and shade, harmony, character, and expression, without suffering by embarrassment and doubt in regard to the materials and mechanism of the art; which, however, are as important to the most talented artist, as good materials and tools and modes of using them are to the mechanic in the production of watches or Steam Engines. Nor will the pride or vanity of the artist most gifted in those préeminent qualities which confer on him, the title of genius, despise or neglect the assistance which may be offered in the choice of his instruments, or the facilities of their application, even from one who might not possess, like him, the highest faculties for their employment. He must learn from the Manufacturer their composition; from the Chemist their mutual action, and the facilities of their application, and their durability, from the experience of the experimental artist, who may have consumed in this pursuit time, perhaps, that would have led him to higher attainments, if another had given him the precious knowledge of which he was in pursuit, and which he has attained for the benefit of others. [[image]]

Much of the time employed in these experiments is necessarily abstracted from that which might be devoted to the productive practice of an Art which demands, if possible, the whole mind. How important, then that the Artist whose genius leads him to the bold or exquisite imitation of Nature, should not be distracted by the necessity of always studying, as a workman, the nature of his materials, nor be embarrassed with doubts of their efficacy or durability or best modes of [[strikethrough]] application [[/strikethrough]] combination & application merely from the want of Authentic documents.

Had it been the practice of the Painters of former Ages to communicate all they had been taught or had discovered by their own researches, we should not now have to lament our ignorance of what constituted Van Eyck's, or the Venetian process, nor of many things which, it is evident from an inspection of their works, were probably known to many Painters of Holland and Italy, — the aggregation of which knowledge would doubtless be of [[strikethrough]] inestimable [[/strikethrough]] great value to the Modern Painter, together with all the