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； who； though a painter of great consideration； had； contrary to the strict rules of art； in his picture of Perseus and Andromeda； represented the principal figure in shade。 To this question no satisfactory answer was then given。 But I will venture to say； that if they had considered the class of the artist； and ranked him as an ornamental painter； there would have been no difficulty in answering： 〃It was unreasonable to expect what was never intended。 His intention was solely to produce an effect of light and Shadow； everything was to be sacrificed to that intent； and the capricious composition of that picture suited very well with the style he professed。〃
Young minds are indeed too apt to be captivated by this splendour of style； and that of the Venetians will be particularly pleasing； for by them all those parts of the art that give pleasure to the eye or sense have been cultivated with care； and carried to the degree nearest to perfection。 The powers exerted in the mechanical part of the art have been called the language of painters； but we must say； that it is but poor eloquence which only shows that the orator can talk。 Words should be employed as the means； not as the end： language is the instrument； conviction is the work。
The language of painting must indeed be allowed these masters； but even in that they have shown more copiousness than choice； and more luxuriancy than judgment。 If we consider the uninteresting subjects of their invention； or at least the uninteresting manner in which they are treated； if we attend to their capricious composition； their violent and affected contrasts； whether of figures； or of light and shadow； the richness of their drapery； and； at the same time； the mean effect which the discrimination of stuffs gives to their pictures； if to these we add their total inattention to expression； and then reflect on the conceptions and the learning of Michael Angelo； or the simplicity of Raffaelle； we can no longer dwell on the comparison。 Even in colouring； if we compare the quietness and chastity of the Bolognese pencil to the bustle and tumult that fills every part of； a Venetian picture； without the least attempt to interest the passions； their boasted art will appear a mere struggle without effect； an empty tale told by an idiot； full of sound and fury； signifying nothing。
Such as suppose that the great style might happily be blended with the ornamental； that the simple； grave； and majestic dignity of Raffaelle could unite with the glow and bustle of a Paulo or Tintoret； are totally mistaken。 The principles by which each are attained are so contrary to each other； that they seem； in my opinion； incompatible； and as impossible to exist together； as to unite in the mind at the same time the most sublime ideas and the lowest sensuality。
The subjects of the Venetian painters are mostly such as give them an opportunity of introducing a great number of figures； such as feasts； marriages； and processions； public martyrdoms； or miracles。 I can easily conceive that Paul Veronese； if he were asked； would say that no subject was proper for an historical picture but such as admitted at least forty figures； for in a less number； he would assert； there could be no opportunity of the painter's showing his art in composition； his dexterity of managing and disposing the masses of light； and groups of figures； and of introducing a variety of Eastern dresses and characters in their rich stuffs。
But the thing is very different with a pupil of the greater schools。 Annibale Caracci thought twelve figures sufficient for any story： he conceived that more would contribute to no end but to fill space； that they would； be but cold spectators of the general action； or； to use his own expression； that they would be figures to be let。 Besides； it is impossible for a picture composed of so many parts to have that effect； so indispensably necessary to grandeur； of one complete whole。 However contradictory it may be in geometry； it is true in taste； that many little things will not make a great one。 The sublime impresses the mind at once with one great idea； it is a single blow： the elegant indeed may be produced by a repetition； by an accumulation of many minute circumstances。
However great the difference is between the composition of the Venetian and the rest of the Italian schools； there is full as great a disparity in the effect of their pictures as produced by colours。 And though in this respect the Venetians must be allowed extraordinary skill； yet even that skill； as they have employed it； will but ill correspond with the great style。 Their colouring is not only too brilliant； but； I will venture to say； too harmonious to produce that solidity； steadiness； and simplicity of effect which heroic subjects require； and which simple or grave colours only can give to a work。 That they are to be cautiously studied by those who are ambitious of treading the great walk of history is confirmed； if it wants confirmation； by the greatest of all authorities； Michael Angelo。 This wonderful man； after having seen a picture by Titian； told Vasari； who accompanied him； 〃that he liked much his colouring and manner； but then he added； that it was a pity the Venetian painters did not learn to draw correctly in their early youth； and adopt a better manner of study。〃
By this it appears that the principal attention of the Venetian painters； in the opinion of Michael Angelo； seemed to be engrossed by the study of colours； to the neglect of the ideal beauty of form； or propriety of expression。 But if general censure was given to that school from the sight of a picture of Titian； how much more heavily； and more justly； would the censure fall on Paulo Veronese； or more especially on Tintoret？ And here I cannot avoid citing Vasari's opinion of the style and manner of Tintoret。 〃Of all the extraordinary geniuses；〃 says he； 〃that have ever practised the art of painting； for wild； capricious； extravagant； and fantastical inventions； for furious impetuosity and boldness in the execution of his work； there is none like Tintoret； his strange whims are even beyond extravagance； and his works seem to be produced rather by chance than in consequence of any previous design； as if he wanted to convince the world that； the art was a trifle； and of the most easy attainment。〃
For my own part； when I speak of the Venetian painters； I wish to be understood to mean Paulo Veronese and Tintoret； to the exclusion of Titian； for though his style is not so pure as that of many other of the Italian schools； yet there is a sort of senatorial dignity about him； which； however awkward in his imitators； seems to become him exceedingly。 His portraits alone； from the nobleness and simplicity of character which he always gave them； will entitle him to the greatest respect； as he undoubtedly stands in the first rank in this branch of the art。
It is not with Titian； but with the seducing qualities of the two former； that I could wish to caution you； against being too much captivated。 These are the persons who may be said to have exhausted all the powers of florid eloquence； to debauch the young and unexperienced； and have； without dou