586 



grandeur, not from the beauty of his countenance 

 and attitude. 



P. 238.1. 1 1 . Sir Joshua's opinion on this point, as express- 

 ed in his 43d Note on Du Fresnoy, has already been 

 stated.* From that, and another passage which 1 

 have quoted from the same work,*f- 1 think it 

 may be inferred, that he considered beauty of form 

 as a distinct character, to which a flowing outline 

 is essential ; and to which likewise a particular style 

 of colouring, of a pure and delicate kind, is above 

 all others congenial : and so far he coincides with 

 Mr. Burke's idea of the beautiful, in the two 

 principal points of form and colour. Then, like- 

 wise, as he considers a more rich and glowing tint, 

 though its effect be much more striking and pow- 

 erful, as less suited to genuine beauty, I flatter 

 myself that his great authority supports in some 

 measure my idea of a character in colour, and in 

 colouring, which might without impropriety be 

 called picturesque : J lor if the colouring of Titian, 

 who so minutely attended to the nicest variations 

 in the tints of naked bodies, (confessedly the most 

 difficult part of the art of colouring,) was thought 

 by him less suited to beauty than that of Guido, 

 how much less suited to it must be the colouring 

 of many other painters, who are indeed highly 

 celebrated for richness and effect, but are far 

 from possessing the delicacy of Titian ; such as 



* Page 231, + Note in Page 337. 



t Essay on the Pisturefjme, rol, i. f, 



