and Moderns, with rejpeft to the Arts. 411 
ing, and expreflion, demand our admiration. 
His etchings are collected at a great expence 
for the cabinets of the curious. The fame fpiric, 
which flowed from his pencil, guided his needle. 
Had this eminent artift vifited Rome, and re¬ 
fined his tafte, it is fuppofed, with his profound 
knowledge of chiaro-fcuro, and colouring, he 
would have .been one of the firll mailers in the 
world. 
That part of the art, termed keeping, the 
ancients feem to have been but little acquainted 
with, and without a due management of this, 
every picture would be filled with confufion. 
Inllead of a proper fubordination, each groupe 
or figure, would feem to contend for precedence. 
This want of order deltroys all dignity, and pre¬ 
vents the artifb from forming an agreeable whole. 
Any attempts in antique landfcape, with which 
we are acquainted, are executed wretchedly. 
In that part of the art, the fuperiority of the 
moderns is manifell. 
We have the authority of Frefnoy* to fay, 
ic that, Michael Angelo furpaffed not only all 
<c the moderns, but the ancients in architecture, 
“ he quotes the St. Peters at Rome, the Palazzo 
“ Farnefe, and the St. Johns at Florence, as 
iC proofs of his opinion.” 
• Frefnoy , a French artift well known for his Latin poem 
de Arte Graphica, 
Etching, 
