m 



or picturesque, and consequently, accord- 

 ing to the principles he has laid down ? 

 less suited to grandeur* he makes an ex-» 

 ception in favour of Titian ; and the grounds 

 On which he makes it, very clearly explain 

 his ideas of the distinction between grandeur 

 and pictUfesquenesSi In comparing a pic- 

 ture of that master with one of Rubens* 

 he opposes the regularity and uniformity* 

 the quiet solemn majesty in the work of 

 the Venetian* to the bustle and animation* 

 and to the picturesque disposition in that 

 of the Flemish Master *. 



As the ornamental style of the Venetians* 

 and of Rubens, who formed himself upon it*, 

 bears a nearer relation to the beautiful than 

 to the grand, so, on the other hand* the pic- 

 turesque style where ornament is little 

 used, as in the Works of Salvator Rosa, is 

 more nearly related to grandeur. The style 

 Of Salvator and that of Rembrandt, though 

 widely different, resemble each other irk 

 one particular j in each the strokes of the 



* Note 25th on Du Fresnou 



