NOTES. 



a certain degree counteracted the flight of imagination ; hence 

 proceeded the Roman fchool, and it is from hence that Raf- 

 faelle, Michael Angelo, and Julio Romano ftand in that pre- 

 heminence of rank in which Frefnoy has juftly placed them. 



R. 



NOTE LV. VERSE 747. 

 Bright, beyond all the reft, Correggio jlings 

 His ample lights, and round them gently brings 



'The mingling JJjade. 



The excellency of Correggio's manner has juftly been ad- 

 mired by all fucceeding Painters. This manner is in direct 

 oppolition to what is called the dry and hard manner which 

 preceded him. 



His colour, and his mode of finishing, approach nearer to 

 perfection than thofe of any other Painter; the gliding motion 

 of his outline, and the fweetnefs with which it melts into 

 the ground; the cleannefs and tranfparency of his colouring, 

 which ftop at that exact medium in which the purity and 

 perfection of tafte lies, leave nothing to be wifhed for. Ba- 

 rochio, tho', upon the whole, one of his moft fuccefsful imi- 

 tators, yet fometimes, in endeavouring at cleannefs or bril- 

 liancy of tint, overmot the mark, and falls under the criticifm 

 that was made on an antient Painter, that his figures looked 

 as if they fed upon rofes. R. 



NOTE LVI. VERSE 767. 

 Yet more than thefe to meditations eyes, 

 Great Nature s felf redundantly fupplies. 

 Frefnov, with great propriety, begins and finimes his Poem 

 with recommending the ftudy of Nature. 



This is in reality the beginning and the end of Theory: 

 It is in Nature only we can find that Beauty which is the 



P 2 great 



