hanical 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
wi