great mistake: nothing has its proper lustre but in its proper place. That which is most worthy of esteem in its allotted sphere, becomes an object, not of respect, but of derision, when it is forced into a higher, to which it is not suited; and there it becomes doubly a source of disorder, by occupying a situation which is not natural to it, and by putting down from the first place what is in reality of too much magnitude to become with grace and proportion that subordinate station, to which something of less value would be much better suited.

My advice in a word is this: keep your principal attention fixed upon the higher excellencies. If you compass them, and compass nothing more, you are still in the first class. We may regret the innumerable beauties which you may want; you may be very imperfect; but still, you are an imperfect artist of the highest order.

If,

when you have got thus far, you can add any, or all, of the subordinate qualifications, it is my wish and advice that you should not neglect them. But this is as much a matter of circumspection and caution at least, as of eagerness aud pursuit.

The mind is apt to be distracted by a multiplicity of objects; and that scale of perfection which I wish always to be preserved, is in the greatest danger of being totally disordered, and even inverted.

Some excellencies bear to be united, and are improved by union; others are of a discordant

nature; and the attempt to join them, only produces a harsh jarring of incongruent principles. The attempt to unite contrary excellencies (of form, for instance) in a single figure, can never escape degenerating into the monstrous, but by sinking into the insipid; by taking away its marked character, and weakening its expression.

This remark is true to a certain degree with regard to the passions. If you mean to preserve the most perfect beauty in its most perfect state, you cannot express the passions, all of which produce distortion and deformity, more or less in the most beautiful faces.

Guido, from want of choice in adapting his subject to his ideas and his powers, or from attempting to preserve beauty where it could not be preserved, has in this respect succeeded very ill. His figures are often engaged in subjects that required great expression: yet his Judith and Holofernes, the daughter of Herodias with the Baptist's head, the Andromeda, and some even of the Mothers of the Innocents, have little more expression than his Venus attired by the Graces.

Obvious as these remarks appear, there are many writers on our art, who, not being of the profession, and consequently not knowing what can or cannot be done, have been very liberal of absurd praises in their descriptions of favourite works. They always find in them what they are resolved to find. They praise excellencies that can hardly exist to

gether; and above all things are fond of describing with great exactness the expression of a mixed passion, which more particularly appears to me out of the reach of our art.

Such are many disquisitions which I have read on some of the Cartoons and other pictures of Raffaelle, where the critics have described their own imaginations; or indeed where the excellent master himself may have attempted this expression of passions above the powers of the art; and has, therefore, by an indistinct and imperfect marking, left room for every imagination, with equal probability to find a passion of his own. What has been, and what can be done in the art, is sufficiently difficult; we need not be mortified or discouraged at not being able to execute the conceptions of a romantic imagination. Art has its boundaries, though imagination has none. We can easily, like the ancients, suppose a Jupiter to be possessed of all those powers and perfections which the subordinate Deities were endowed with separately. Yet, when they employed their art to represent him, they confined his character to majesty alone. Pliny, therefore, though we are under great obligations to him for the information he has given us in relation to the works of the ancient artists, is very frequently wrong when he speaks of them, which he does very often in the style of many of our modern connoisseurs. He observes, that in a statue of Paris, by Euphranor, you might discover

at the same time three different characters; the dignity of a Judge of the Goddesses, the Lover of Helen, and the Conqueror of Achilles. A statue in which you endeavour to unite stately dignity, youthful elegance, and stern valour, must surely possess none of these to any eminent degree.

From hence it appears, that there is much difficulty as well as danger, in an endeavour to concentrate in a single subject those various powers, which rising from different points, naturally move in different directions.

The summit of excellence seems to be an assemblage of contrary qualities, but mixed, in such proportions, that no one part is found to counteract the other. How hard this is to be attained in every art, those only know, who have made the greatest progress in their respective professions.

To conclude what I have to say on this part of the subject, which I think of great importance, I wish you to understand, that I do not discourage the younger students from the noble attempt of uniting all the excellencies of art; but suggest to them, that, beside the difficulties which attend every arduous attempt, there is a peculiar difficulty in the choice of the excellencies which ought to be united. I wish you to attend to this, that you may try yourselves, whenever you are capable of that trial, what you can, and what you cannot do ; and that, instead of dissipating your natural faculties over the immense field of possible excellence,

you may choose some particular walk in which you may exercise all your powers: in order that each of you may become the first in his way. If any man shall be master of such a transcendant, commanding, and ductile genius, as to enable him to rise to the highest, and to stoop to the lowest, flights of art, and to sweep over all of them unobstructed and secure, he is fitter to give example than to receive instruction.

Having said thus much on the union of excellencies, I will next say something of the subordination in which various excellencies ought to be kept.

I am of opinion, that the ornamental style, which in my discourse of last year I cautioned you against considering as principal, may not be wholly unworthy the attention even of those who aim at the grand style, when it is properly placed and properly reduced.

But this study will be used with far better effect, if its principles are employed in softening the harshness and mitigating the rigour of the great style, than if it attempt to stand forward with any pretensions of its own to positive and original excellence. It was thus Ludovico Caracci, whose example I formerly recommended to you, employed it. He was acquainted with the works both of Correggio and the Venetian painters, and knew the principles by which they produced those pleasing effects which at the first glance prepossess