NOTES. 105 



annexed to or thinly divided from their neighbouring excel- 

 lence ; thus, when he is endeavouring to acquire the Roman 

 ftile, without great care, he falls into a hard and dry manner. 

 The flowery colouring is nearly allied to the gaudy effect of 

 fan-painting. The fimplicity of the Bolognian ftile requires 

 the niceft hand to preferve it from infipidity. That of Titian, 

 which may be called the Golden Manner, when unfkilfully 

 managed, becomes what the Painters call Foxy ; and the filver 

 degenerates into the leaden and heavy manner. All of them, 

 to be perfect in their way, will not bear any union with each 

 other; if they are not diftinctly feparated, the effect of the 

 picture will be feeble and infipid, without any mark or diftin- 

 guimed character. R. 



NOTE XLIV. VERSE 538. 

 On that higb-finift>d form let paint beftow 

 Her midnight- ft ado, her meridian glow. 

 It is indeed a rule adopted by many Painters to admit in no 

 part of the back-ground, or on any object in the picture, ma- 

 dows of equal ftrength with thofe which are employed on the 

 principal figure; but this produces afalfe reprefentation. With 

 deference to our Author, to have the ftrong light and madow 

 there alone, is not to produce the beft natural effect ; nor is 

 it authorifed by the practice of thofe Painters who are moft 

 diftinguifhed for harmony of colouring : A conduct, there- 

 fore, totally contrary to this is abfolutely neceffary, that the 

 fame ftrength, the fame tone of colour, mould be diffufed over 

 the whole picture. 



I am no enemy to dark madows ; the general deficiency to 

 be obferved in the works of the Painters of the laft age, as 

 well as indeed of many of the prefent, is a feeblenefs of effect; 

 they feem to be too much afraid of thofe midnight Shadows, 



O which 



