relique of those remote ages that has yet been found.

No works of any modern have 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 the ancients 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. i

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 ground; as in The Seven Sacraments in the Duke of Orleans' collection; but neither these, nor any of his other pictures in this manner, are at all comparable to many in this 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 the ceremonies, customs, and habits of the ancients, but from his being so well acquainted with the different characters which those who invented them gave to 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 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 nowise offensive in him; but seems perfectly of a piece with the general air of the picture. On the contrary, if the figures which people his pictures had a modern air or countenance, if they appeared like our countrymen, if the draperies were like cloth or silk of our manufacture, if the landscape had the appearance of a modern view, how ridiculous would Apollo appear instead of the Sun; an old Man, or a Nymph with an urn, to represent a River or a Lake?

I cannot avoid mentioning here a circumstance in portrait painting, which may help to confirm

what has been said. When a portrait is painted in the historical style, as it is neither an exact minute representation of an individual, nor completely ideal, every circumstance ought to correspond to this mixture. The simplicity of the antique air and attitude, however much to be admired, is ridiculous when joined to a figure in a modern dress. It is not to my purpose to enter into the question at present, whether this mixed style ought to be adopted or not; yet if it is chosen, it is necessary it should be complete and all of a piece: the difference of stuffs, for instance, which make the clothing, should be distinguished in the same degree as the head deviates from a general idea. Without this union, which I have so often recommended, a work can have no marked and determined character, which is the peculiar and constant evidence of genius. But when this is accomplished to a high degree, it becomes in some sort a rival to that style which we have fixed as the highest.

Thus I have given a sketch of the characters of Rubens and Salvator Rosa, as they appear to me to have the greatest uniformity of mind throughout their whole work. But we may add to these, all those artists who are at the head of a class, and have had a school of imitators from Michael Angelo down to Watteau. Upon the whole it appears that, setting aside the ornamental style, there are two different modes, either of which a student may adopt without degrading the dignity of his art.

The object of the first is, to combine the higher excellencies and embellish them to the greatest advantage of the other, to carry one of these excellencies to the highest degree. But those who possess neither, must be classed with them, who, as Shakspeare says, are " Men of no mark or likelihood."

I inculcate as frequently as I can your forming yourselves upon great principles and great models. Your time will be much misspent in every other pursuit. Small excellencies should be viewed, not studied; they ought to be viewed, because nothing ought to escape a painter's observation; but for no other reason.

There is another caution which I wish to give you. Be as select in those whom you endeavour to please, as in those whom you endeavour to imitate. Without the love of fame you can never do any thing excellent; but by an excessive and undistinguishing thirst after it, you will come to have vulgar views; you will degrade your style; and your taste will be entirely corrupted. It is certain that the lowest style will be the most popular, as it falls within the compass of ignorance itself; and the vulgar will always be pleased with what is natural, in the confined and misunderstood sense of the word.

One would wish that such depravation of taste should be counteracted with that manly pride which actuated Euripides when he said to the Athenians

who criticised his works, "I do not compose my "works in order to be corrected by you, but to "instruct you." It is true, to have a right to speak thus, a man must be an Euripides. However, thus much may be allowed, that when an artist is sure that he is upon firm ground, supported by the authority and practice of his predecessors of the greatest reputation, he may then assume the boldness and intrepidity of genius; at any rate he must not be tempted out of the right path by any allurement of popularity, which always accompanies the lower styles of painting.

I mention this, because our exhibitions, while they produce such admirable effects by nourishing emulation, and calling out genius, have also a mischievous tendency, by seducing the painter to an ambition of pleasing indiscriminately, the mixed multitude of people who resort to them.