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still great merit； because it shows that those who cultivated it were men of
lively and vigorous imagination。 This I call the original or
characteristical style； this； being less referred to any true architype existing
either in general or particular nature； must be supported by the painter's
consistency in the principles he has assumed； and in the union and
harmony of his whole design。 The excellency of every style； but I think
of the subordinate ones more especially； will very much depend on
preserving that union and harmony between all the component parts； that
they appear to hang well together； as if the whole proceeded from one
mind。 It is in the works of art； as in the characters of men。 The faults or
defects of some men seem to become them when they appear to be the
natural growth； and of a piece with the rest of their character。 A faithful
picture of a mind； though it be not of the most elevated kind； though it be
irregular； wild； and incorrect； yet if it be marked with that spirit and
firmness which characterises works of genius； will claim attention； and be
more striking than a combination of excellences that do not seem to hang
well together； or we may say than a work that possesses even all
excellences； but those in a moderate degree。
One of the strongest marked characters of this kind； which must be
allowed to be subordinate to the great style； is that of Salvator Rosa。 He
gives us a peculiar cast of nature； which； though void of all grace；
elegance； and simplicity； though it has nothing of that elevation and
dignity which belongs to the grand style； yet has that sort of dignity which
belongs to savage and uncultivated nature。 But what is most to be
admired in him is the perfect correspondence which he observed between
the subjects which he chose； and his manner of treating them。
Everything is of a piece： his rocks； trees； sky； even to his handling have
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the same rude and wild character which animates his figures。
To him we may contrast the character of Carlo Maratti； who； in my
own opinion； had no great vigour of mind or strength of original genius。
He rarely seizes the imagination by exhibiting the higher excellences； nor
does he captivate us by that originality which attends the painter who
thinks for himself。 He knew and practised all the rules of art； and from a
composition of Raffaelle； Caracci； and Guido； made up a style； of which
its only fault was； that it had no manifest defects and no striking beauties；
and that the principles of his composition are never blended together； so as
to form one uniform body； original in its kind； or excellent in any view。
I will mention two other painters who； though entirely dissimilar； yet
by being each consistent with himself； and possessing a manner entirely
his own； have both gained reputation； though for very opposite
accomplishments。
The painters I mean are Rubens and Poussin。 Rubens I mention in
this place； as I think him a remarkable instance of the same mind being
seen in all the various parts of the art。 The whole is so much of a piece
that one can scarce be brought to believe but that if any one of them had
been more correct and perfect； his works would not be so complete as they
now appear。 If we should allow a greater purity and correctness of
drawing； his want of simplicity in composition； colouring； and drapery
would appear more gross。
In his composition his art is too apparent。 His figures have
expression； and act with energy； but without simplicity or dignity。 His
colouring； in which he is eminently skilled； is； notwithstanding； too much
of what we call tinted。 Throughout the whole of his works there is a
proportionable want of that nicety of distinction and elegance of mind
which is required in the higher walks of painting； and to this want it may
be in some degree ascribed that those qualities which make the excellency
of this subordinate style appear in him with their greatest lustre。 Indeed；
the facility with which he invented； the richness of his composition； the
luxuriant harmony and brilliancy of his colouring； so dazzle the eye； that
whilst his works continue before us we cannot help thinking that all his
deficiencies are fully supplied。
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Opposed to this florid； careless； loose； and inaccurate style； that of the
simple； careful； pure； and correct style of Poussin seems to be a complete
contrast。
Yet however opposite their characters； in one thing they agreed； both
of them having a perfect correspondence between all the parts of their
respective manners。
One is not sure but every alteration of what is considered as defective
in either； would destroy the effect of the whole。
Poussin lived and conversed with the ancient statues so long； that he
may be said to be better acquainted with then than with the people who
were about him。 I have often thought that he carried his veneration for
them so far as to wish to give his works the air of ancient paintings。 It is
certain he copied some of the antique paintings； particularly the 〃Marriage
in the Albrobrandini Palace at Rome；〃 which I believe to be the best
relique of those remote ages that has yet been found。
No works of any modern has so much of the air of antique painting as
those of Poussin。 His best performances have a remarkable dryness of
manner； which； though by no means to be recommended for imitation； yet
seems perfectly correspondent to that ancient simplicity which
distinguishes his style。 Like Polidoro he studied them so much； that he
acquired a habit of thinking in their way； and seemed to know perfectly the
actions and gestures they would use on every occasion。
Poussin in the latter part of his life changed from his dry manner to
one much softer and richer； where there is a greater union between the
figures and the ground； such as the 〃Seven Sacraments〃 in the Duke of
Orleans' collection； but neither these； nor any in this manner； are at all
comparable to many in his dry manner which we have in England。
The favourite subjects of Poussin were ancient fables； and no painter
was ever better qualified to paint such subjects； not only from his being
eminently skilled in the knowledge of ceremonies； customs； and habits of
the ancients； but from his being so well acquainted with the different
characters which those who invented them gave their allegorical figures。
Though Rubens has shown great fancy in his Satyrs； Silenuses； and Fauns；
yet they are not that distinct separate class of beings which is carefully
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exhibited by the ancients and by Poussin。 Certainly when such subjects
of antiquity are represented； nothing in the picture ought to remind us of
modern times。 The mind is thrown back into antiquity； and nothing
ought to be introduced that may tend to awaken it from the illusion。
Poussin seemed to think that the style and the language in which such
stories are told is not the worse for preserving some relish of the old way
of painting which seemed to give a general uniformity to the whole； so
that the mind was thrown back into antiquity not only by the subject； but
the execution。
If Poussin； in imitation of the ancients； represents Apollo driving his
chariot out of the sea by way of representing the sun rising； if he
personifies lakes and rivers； it is no ways offensive in him； but seems
perfectly of a piece with the general air of the picture。 On th