thing to do with the harmony of the
architecture; nothing is so monotonous as these detail and 'bit
painters;' their works, taken collectively, are universally effectless
and good for nothing; it is, at best, overwrought ingenuity--not Art.
The combinations must be generalized; some object in the foreground may
partake of this quality of finish, but if other parts of the composition
be not proportionably slighted, there will be a want of general harmony.
No separate part should possess any preponderance sufficient to absorb
the interest of the rest. An analogous combination will alone invest the
whole with the charm it conveys collectively, and infinite labour is
saved. The high excellencies of painting belong invariably to harmonious
combinations.

We frequently observe in the best works, the great effect produced by
slightness, which, by a sort of magic, at a distance, assumes complete
forms: this is scarcely ever the effect of chance or accident, however
it may be made to appear so, but the result of deep and matured study,
and a steady attention to the _general_ effect, produced, perhaps, by a
few happy scratches, and is 'more laborious to the mind than the highest
finishing would be,' accomplishing the purpose intended by a seemingly
intuitive perception of what was required, and communicating a lively
and vigorous impression to the minds of others by the energies of their
own. Extreme labour seldom fails to produce heaviness, while that
fascinating lightness of effect is universally occasioned by the absence
of it. The slightest and most undetermined manner of treatment often
succeeds in producing the best _general_ effect, which effect is as
often wholly defeated in the attempt at _finishing_ and blending the
colours and details. Some morsel or other is beautifully preserved, but
the _whole_ is lost.

The _general_ effect of the stars is all order--all repose; but the
_means_ by which this effect is produced is nowhere to be traced!

'The highest style has the least common nature in it:' 'Good sense is
not always _common_ sense.'

'We may depart from Nature for a greater advantage. Nature is frequently
narrow and confined in her principles, and must as frequently be
departed from. Pictures should be painted to give pleasure, and every
object which stands in the way of that pleasure _must_ be removed!'

Rubens thought the eye should be satisfied above all other
considerations; he, therefore, painted his refle