ention two other painters who, though entirely dissimilar, yet by
being each consistent with himself, and possessing a manner entirely his
own, have both gained reputation, though for very opposite
accomplishments.

The painters I mean are Rubens and Poussin. Rubens I mention in this
place, as I think him a remarkable instance of the same mind being seen
in all the various parts of the art. The whole is so much of a piece
that one can scarce be brought to believe but that if any one of them had
been more correct and perfect, his works would not be so complete as they
now appear. If we should allow a greater purity and correctness of
drawing, his want of simplicity in composition, colouring, and drapery
would appear more gross.

In his composition his art is too apparent. His figures have expression,
and act with energy, but without simplicity or dignity. His colouring,
in which he is eminently skilled, is, notwithstanding, too much of what
we call tinted. Throughout the whole of his works there is a
proportionable want of that nicety of distinction and elegance of mind
which is required in the higher walks of painting; and to this want it
may be in some degree ascribed that those qualities which make the
excellency of this subordinate style appear in him with their greatest
lustre. Indeed, the facility with which he invented, the richness of his
composition, the luxuriant harmony and brilliancy of his colouring, so
dazzle the eye, that whilst his works continue before us we cannot help
thinking that all his deficiencies are fully supplied.

Opposed to this florid, careless, loose, and inaccurate style, that of
the simple, careful, pure, and correct style of Poussin seems to be a
complete contrast.

Yet however opposite their characters, in one thing they agreed, both of
them having a perfect correspondence between all the parts of their
respective manners.

One is not sure but every alteration of what is considered as defective
in either, would destroy the effect of the whole.

Poussin lived and conversed with the ancient statues so long, that he may
be said to be better acquainted with then than with the people who were
about him. I have often thought that he carried his veneration for them
so far as to wish to give his works the air of ancient paintings. It is
certain he copied some of the antique paintings, particularly the
"Marriage in the Albrobrandini Palace at Rome," which I believe to be the
best