158 



Rubens, though he set a just value ort 

 ancient statues, and though he endeavour* 

 ed to gain a more chaste and correct out- 

 line by copying, and, as it is said, by 

 tracing the outlines of drawings that were 

 excellent in that respect, could never over- 

 come his original bias. Indeed it may ad- 

 mit of some doubt whether a strict attention 

 to such excellencies be compatible with that 

 peculiar spirit and effect which his works 

 display; and whether he might not have 

 lost more on one side, than he would have 

 gained on the other. Much certainly may 

 be done by early and constant practice, 

 but correctness and purity are allied to 

 caution and timidity ; and to be in a high 

 degree correct and chaste in form, spirited 

 in touch, rich in colouring, and splendid 

 in effect, is a combination of which the 

 art of painting since its revival, can hardly 

 ]be said to have given any perfect example. 



As the most exquisite of the ancient 

 statues are the acknowledged standards of 

 grandeur and beauty of form, combined 

 with purity and correctness of outline, s© 



