In the Specific Essence of each object itself, they distinguished two parts; one of which was peculiar and characteristical of the one class of things of which that particular object was an individual, the other was common to it with some other higher classes of things. These two parts were, to the Specific Essence, pretty much what the Matter and the Specific Essence were to each individual body. The one, which was called the Genus, was modified and determined by the other, 405 which was called the Specific Difference, pretty much in the same manner as the universal matter contained in each body was modified and determined by the Specific Essence of that particular class of bodies. These four, with the Specific Essence or Species itself, made up the number of the Five Universals, so well known in the schools by the names of Genus, Species, Differentia, Proprium, and Accidens.
* * * * * * * *
OF THE
NATURE OF THAT IMITATION
WHICH TAKES PLACE IN WHAT ARE CALLED
THE IMITATIVE ARTS.
PART Ⅰ.
THE most perfect imitation of an object of any kind must in all cases, it is evident, be another object of the same kind, made as exactly as possible after the same model. What, for example, would be the most perfect imitation of the carpet which now lies before me?—Another carpet, certainly, wrought as exactly as possible after the same pattern. But, whatever might be the merit or beauty of this second carpet, it would not be supposed to derive any from the circumstance of its having been made in imitation of the first. This circumstance of its being not an original, but a copy, would even be considered as some diminution of that merit; a greater or smaller, in proportion as the object was of a nature to lay claim to a greater or smaller degree of admiration. It would not much diminish the merit of a common carpet, because in such trifling objects, which at best can lay claim to so little beauty or merit of any kind, we do not always think it worth while to affect originality: it would diminish a good deal that of a carpet of very exquisite workmanship. In objects of still greater importance, this exact, or, as it would be called, this servile imitation, would be considered as the most unpardonable blemish. To build another St. Peter’s or St. Paul’s church, of exactly the same dimensions, proportions, and ornaments with the present buildings at Rome or London, would be supposed to argue such a miserable barrenness of genius and invention in the architect as would disgrace the most expensive magnificence.