loa On Painting* 



from a dafii of excefs in "Rubciis he becomes a better mafter 

 to ftudy than any other, but he mult be ftudied with caution. 

 The clofe adhefion of his figures points out the nielhnd of 

 qompofition, the flriking and confpicuous manner of arranoe- 

 ing his tints evinces the plan purfued in grouping the colours; 

 while the union ot (hadow with Ihadow^ and light with light, 

 is feen in the breadth and vaftncls of his nuilics. By hi.-; ex- 

 cefs we may learn, as from Diogenes in morals, who ob- 

 ferved he aiSled like muficians, who gave a higher tone iu 

 order to indicate a true one. 



The affeclation of contrafl: in fome artifts is abominable ; it 

 looks ftudioudy abfurd to fee a woman lying on the ground 

 with a child at her bread, and another plaving near her; 

 befides the common trick of mixing, in quanlum fuffuity 

 naked with clothed figures; old men with voung ones; fide 

 oppofed to the full face ; the conirall of violeni motion 

 with languid attitudes; and a thoufand other petty arts to 

 trap the unwary. Such violent oppofition will never plcafe 

 the judicious. Where the highell degree of the pitlurelque 

 is intended, it fliould never be carried to excefs. How ridi- 

 culous would it appear in a landfcape to fee trees croihng 

 each other at right angles, or one vertical and another hori- 

 zontal ! In thib inftance we may take an example from na- 

 ture, whofe progrefs from feafon to feafon is by gentle and 

 almoft imperceptible degrees, and not by violent oppofition 

 from heat to cold. By the lame rule, violent fore-fliortenings 

 fliould be avoided; a little adds dignitv, but, in general, the 

 figures had better be comi)ofed than otherwife. We (liould 

 be careful of mirtaking blulter and rant for fpirit and great- 

 nefs. " Be not too tame neither, but let your own difcre- 

 tion be your tutor : fuit the action to the word, with this (pc- 

 cial obfervance, that you overltep not the modefty of nature." 



Weak minds are apt, when they attempt the e'xpreflive 

 ftyle, to give their figures the wild and exiravatiant attitudes 

 of lunatics. That grave dignity obft-rvable in the works of 

 the Florentine and Roman fchools has entitled them to the 

 firfl place in compofition : the next is jufily held by the Ca- 

 racci, whofe pupils, as they loft fight of dignitv, fubfiitutcd 

 buftle and (how for fimple truth. The ftyle of Guercino is 

 forcible and ftrcng, but lefs elegant and beautiful than Guido, 

 which is eafily perceived in the extremities. Pouflin has 

 great fimpliciiy in his compofitions, though his figures are 

 fometimes too much fcaltered. He is remarkable for not 

 fuflering any low or vulgar thought to brcnk in on the dig- 

 nitv of his ftory ; an error fometimes conmiitted even by 

 Raphael. There are admiiable trails of the true Komaa 

 3 fimplicity 



