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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 each of you to be 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。
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Having said thus much on the union of excellences； I will next say
something of the subordination in which various excellences 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 of those who aim even 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 in attempt to stand forward with any pretensions of its own to
positive and original excellence。
It was thus Lodovico 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 us so much in their favour； but he took only as much from each
as would embellish； but not overpower； that manly strength and energy of
style； which is his peculiar character。
Since I have already expatiated so largely in my former discourse； and
in my present； upon the styles and characters of painting； it will not be at
all unsuitable to my subject if I mention to you some particulars relative to
the leading principles； and capital works of those who excelled in the great
style； that I may bring you from abstraction nearer to practice； and by
exemplifying the propositions which I have laid down； enable you to
understand more clearly what I would enforce。
The principal works of modern art are in fresco； a mode of painting
which excludes attention to minute elegancies： yet these works in fresco
are the productions on which the fame of the greatest masters depend：
such are the pictures of Michael Angelo and Raffaelle in the Vatican； to
which we may add the cartoons； which； though not strictly to be called
fresco； yet may be put under that denomination； and such are the works of
Giulio Romano at Mantua。 If these performances were destroyed； with
them would be lost the best part of the reputation of those illustrious
painters； for these are justly considered as the greatest efforts of our art
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which the world can boast。 To these； therefore； we should principally
direct our attention for higher excellences。 As for the lower arts； as they
have been once discovered； they may be easily attained by those possessed
of the former。
Raffaelle； who stands in general foremost of the first painters； owes his
reputation； as I have observed； to his excellence in the higher parts of the
art。 Therefore； his works in fresco ought to be the first object of our
study and attention。 His easel…works stand in a lower degree of
estimation； for though he continually； to the day of his death； embellished
his works more and more with the addition of these lower ornaments；
which entirely make the merit of some； yet he never arrived at such
perfection as to make him an object of imitation。 He never was able to
conquer perfectly that dryness； or even littleness of manner； which he
inherited from his master。 He never acquired that nicety of taste in
colours； that breadth of light and shadow； that art and management of
uniting light； to light； and shadow to shadow； so as to make the object rise
out of the ground with that plenitude of effect so much admired in the
works of Correggio。 When he painted in oil； his hand seemed to be so
cramped and confined that he not only lost that facility and spirit； but I
think even that correctness of form； which is so perfect and admirable in
his fresco works。 I do not recollect any pictures of his of this kind；
except perhaps the 〃Transfiguration；〃 in which there are not some parts
that appear to be even feebly drawn。 That this is not a necessary
attendant on oil…painting； we have abundant instances in more modern
painters。 Lodovico Caracci； for instance； preserved in his works in oil the
same spirit； vigour； and correctness； which he had in fresco。 I have no
desire to degrade Raffaelle from the high rank which he deservedly holds：
but by comparing him with himself； he does not appear to me to be the
same man in oil as in fresco。
From those who have ambition to tread in this great walk of the art；
Michael Angelo claims the next attention。 He did not possess so many
excellences as Raffaelle； but those he had were of the highest kind。 He
considered the art as consisting of little more than what may be attained by
sculpture； correctness of form； and energy of character。 We ought not to
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expect more than an artist intends in his work。 He never attempted those
lesser elegancies and graces in the art。 Vasari says； he never painted but
one picture in oil； and resolved never to paint another； saying it was an
employment only fit for women and children。
If any man had a right to look down upon the lower accomplishments
as beneath his attention； it was certainly Michael Angelo： nor can it be
thought strange that such a mind should have slighted or have bee