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ration for the character of the hero or saint he represents； though he lets us know at the same time that the saint was deformed； or the hero lame。 The painter has no other means of giving an idea of the dignity of the mind； but by that external appearance which grandeur of thought does generally； though not always； impress on the countenance； and by that correspondence of figure to sentiment and situation which all men wish； but cannot command。 The painter； who may in this one particular attain with ease what others desire in vain； ought to give all that he possibly can； since there are so many circumstances of true greatness that he cannot give at all。 He cannot make his hero talk like a great man； he must make him look like one。 For which reason he ought to be well studied in the analysis of those circumstances which constitute dignity of appearance in real life。
As in invention； so likewise in； expression； care must be taken not to run into particularities； Those expressions alone should be given to the figures which their respective situations generally produce。 Nor is this enough； each person should also have that expression which men of his rank generally exhibit。 The joy or the grief of a character of dignity is not to be expressed in the same manner as a similar passion in a vulgar face。 Upon this principle Bernini； perhaps； may be subject to censure。 This sculptor； in many respects admirable； has given a very mean expression to his statue of David； who is represented as just going to throw the stone from the sling； and in order to give it the expression of energy he has made him biting his under…lip。 This expression is far from being general； and still farther from being dignified。 He might have seen it in an instance or two； and he mistook accident for universality。
With respect to colouring； though it may appear at first a part of painting merely mechanical； yet it still has its rules； and those grounded upon that presiding principle which regulates both the great and the little in the study of a painter。 By this； the first effect of the picture is produced； and as this is performed the spectator； as he walks the gallery； will stop； or pass along。 To give a general air of grandeur at first view； all trifling or artful play of little lights or an attention to a variety of tints is to be avoided； a quietness and simplicity must reign over the whole work； to which a breadth of uniform and simple colour will very much contribute。 Grandeur of effect is produced by two different ways； which seem entirely opposed to each other。 One is； by reducing the colours to little more than chiaroscuro； which was often the practice of the Bolognian schools； and the other； by making the colours very distinct and forcible； such as we see in those of Rome and Florence； but still； the presiding principle of both those manners is simplicity。 Certainly； nothing can be more simple than monotony； and the distinct blue； red； and yellow colours which are seen in the draperies of the Roman and Florentine schools； though they have not that kind of harmony which is produced by a variety of broken and transparent colours； have that effect of grandeur that was intended。 Perhaps these distinct colours strike the mind more forcibly； from there not being any great union between them； as martial music； which is intended to rouse the noble passions； has its effect from the sudden and strongly marked transitions from one note to another； which that style of music requires； whilst in that which is intended to move the softer passions the notes imperceptibly melt into one another。
In the same manner as the historical painter never enters into the detail of colours； so neither does he debase his conceptions with minute attention to the discriminations of drapery。 It is the inferior style that marks the variety of stuffs。 With him； the clothing is neither woollen； nor linen； nor silk； satin； or velvet： it is drapery； it is nothing more。 The art of disposing the foldings of the drapery make a very considerable part of the painter's study。 To make it merely natural is a mechanical operation； to which neither genius or taste are required； whereas； it requires the nicest judgment to dispose the drapery； so that the folds have an easy communication； and gracefully follow each other； with such natural negligence as to look like the effect of chance； and at the same time show the figure under it to the utmost advantage。
Carlo Maratti was of opinion that the disposition of drapery was a more difficult art than even that of drawing the human figure； that a student might be more easily taught the latter than the former； as the rules of drapery； he said； could not be so well ascertained as those for delineating a correct form； This； perhaps； is a proof how willingly we favour our own peculiar excellence。 Carlo Maratti is said to have valued himself particularly upon his skill in this part of the art yet in him the disposition appears so artificial； that he is inferior to Raffaelle； even in that which gave him his best claim to reputation
Such is the great principle by which we must be directed in the nobler branches of our art。 Upon this principle the Roman； the Florentine； the Bolognese schools； have formed their practice； and by this they have deservedly obtained the highest praise。 These are the three great schools of the world in the epic style。 The best of the French school； Poussin； Le Sueur； and Le Brun； have formed themselves upon these models； and consequently may be said； though Frenchmen； to be a colony from the Roman school。 Next to these； but in a very different style of excellence； we may rank the Venetian； together with the Flemish and the Dutch schools； all professing to depart from the great purposes of painting； and catching at applause by inferior qualities。
I am not ignorant that some will censure me for placing the Venetians in this inferior class； and many of the warmest admirers of painting will think them unjustly degraded； but I wish not to be misunderstood。 Though I can by no means allow them to hold any rank with the nobler schools of painting； they accomplished perfectly the thing they attempted。 But as mere elegance is their principal object； as they seem more willing to dazzle than to affect； it can be no injury to them to suppose that their practice is useful only to its proper end。 But what may heighten the elegant may degrade the sublime。 There is a simplicity； and I may add； severity； in the great manner； which is； I am afraid； almost incompatible with this comparatively sensual style。
Tintoret； Paul Veronese； and others of the Venetian schools； seem to have painted with no other purpose than to be admired for their skill and expertness in the mechanism of painting； and to make a parade of that art which； as I before observed； the higher style requires its followers to conceal。
In a conference of the French Academy； at which were present Le Brun； Sebastian Bourdon； and all the eminent artists of that age； one of the academicians desired to have their opinion on the conduct of Paul Veronese； who； though a painter of great consideration； had； contrary to the strict rules of art； in his pic