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Iii Paul Veronese, more than perhaps an 

 any other painter of his class, we fmd those 

 striking effects of perspective, those groups 

 and clusters of buildings receding from the 

 eye in various directions, and all those 

 splendid artifices which may be called the 

 picturesque of regular and entire architec- 

 ture, in contradistinction to that of irre- 

 gular buildings and rums. It is obvious 

 that there are but few subjects where a his- 

 tory painter could introduce ruins with pro- 

 priety, especially as principal objects ; being 

 therefore in some degree precluded from 

 buildings in their most picturesque state, 

 (that is, where the variety of forms, tints, 

 and effects, are most sudden and striking,) 

 those painters who were fond of such varie- 

 ties, and of all that i<s termed picturesque, 

 have sought for them by means not incom- 

 patible with what is due to the dignity 

 and propriety of the historical -style. This 

 will clearly appear to any person who com- 

 pares the architectural back-grounds ofsuch 



