145 



and severity of the grand, nor the rich- 

 ness and splendour of the ornamental 

 style, it must have a separate character 

 in a high degree appropriate to what is 

 simply beautiful; and may equally with 

 them (though that is a consideration of 

 much less importance) lay claim to a dis- 

 tinct title. 



It is no small confirmation of all that I 

 have advanced in the early part of this 

 chapter, to find that each style of painting 

 corresponds with the characteristic marks 

 of the grand, the beautiful, and the pic- 

 turesque, in real objects ; and I trust that 

 the different shades of distinction that have 

 been noticed, will be found consistent with 

 the general principles. The style of the 

 Venetians and of Pietro da Cortona, will 

 not accord with the grand character, on 

 account of its splendour, its gaiety, and pro- 

 fusion of ornaments ; and the reproof of 

 Apelles may shew, that such a profusion 

 is not adapted to beauty, though more con- 

 genial to it than to grandeur. Again, the 

 style of Salvator Rosa, Rembrandt, Spag- 



VOL. I. L 



