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Poiissin after he had neglected colouring, 

 and thought onlj of the anticiue. Let any 

 oac who is acquainted with the pictures of 

 tliose two great artists, reflect how justly 

 the terms of riclmess and simplicity will 

 apply to the respective styles of their com- 

 position, colouring, and light and slmdow; 

 to their manner of disposing and draping 

 their figures, and of producing the genenil 

 effect of the whole. Had simplicity been 

 the arbitress, Poussin would have been the 

 only model ; and what we most admire in 

 the works of Rubens, and of many other 

 masters, could not have existed. The Vene- 

 tian school owe^ that richness of colourino: 

 in which it surpasses all others, to the break- 

 ing, or corruption of colours ; which Sir J. 

 Keynolds opposes to the simplicity and se- 

 verity of the unbroken colours of the Roman 

 school: and from that circumstance, and 

 from the splendour of their decorations, he 

 calls the Venetian, the ornamental style. 

 Those splendid decorations the Roman 

 school justly excluded from the higher style 

 gf painting ; but frow what have we ex- 



