al, 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 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