and Moderns, with refpefi to the Arts. 409 
“ In antique paintings, there are not the 
ec fmalleft traces to make us think, that what 
te we call light, and fnade, or a distribution of 
“ the work into maSTes, claimed any part of their 
<c attention : thefe may be ranked amongft the 
* c defects of the learned PcuJJin * as well as of 
<( the antique paintings: and the moderns have a 
ft right tq. that praife which is their due, 'for 
“ having given fo pieafing an addition to the 
“ fplendour of the art. TouJJin 's pure and cor- 
“ reel ftile was a direft contrail to the florid 
“ and inaccurate ftile of Rubens -f- ; yet the luxu- 
riant brillancy and harmony of the latter, Jo 
<c dazzles the eye, that we cannot help thinking 
cc all his deficiencies are fully Supplied.” Poujfin 
carried his veneration for the ancients fo far 
as to give his works the air of antique paintings. 
It is certain he copied fome of them, particularly 
the marriage, in the Aldrobrandini palace at 
Rome ; which, in the opinion of that great artift 
before mentioned, is the beft relique of thofe 
remote ages, that has hitherto been found. 
Thofe of the antique paintings which Hand 
foremoft, are fine, and correct imitations of 
improved nature; with the chafteft outline; 
formed upon Such certain principles as no one 
* N. PouJJln, an eminent French painter. It fhould have 
been noticed, whether it was Nicholas , or Gajper PouJJhi. 
f Rubens, a famous Flcmifh painter. 
has 
