lance to those artificial expressions
on which their admiration was founded. The vehemence of their manner on
the most ordinary occasions, rendered the most extravagant gestures
requisite for the display of real passion; and their drama accordingly
exhibits a mixture of dignity of sentiment, with violence of gesture,
beyond measure surprising to a foreign spectator. The same disposition
of the people has influenced the character of their historical painting;
and it is to be remembered, that the French school of painting succeeded
the establishment of the French drama. It is hence that they have
generally selected the moment of theatrical effect--the moment of
phrenzied passion, of unparalleled exertion, and that their composition
is distinguished by so many striking contrasts, and so laboured a
display of momentary effect.

The Flemish or Dutch school of painting was neither addressed to the
devotion nor the theatrical feelings of mankind; it was neither intended
to awaken the sympathy of religious emotion, nor excite the admiration
of artificial composition--it was addressed to wealthy men of vulgar
capacities, whose taste advanced in no proportion to their riches, and
who were capable of appreciating only the merit of minute detail, or the
faithfulness of exact imitation. It is hence that their painting
possesses excellencies and defects of so peculiar a description; that
they have carried the minuteness of finishing to so unparalleled a
degree of perfection; that the brilliancy of their lights has thrown a
splendour over the vulgarity of their subjects; and that they are in
general so utterly destitute of all the refinement and sentiment which
sprung from the devotional feelings of the Italian people.

The subjects which the Dutch painters chose were subjects of low humour,
calculated to amuse a rich and uncultivated people; the subjects of the
French school were heroic adventures, suited to the theatrical taste of
a more elevated society; the subjects of the Italian school were the
incidents of Sacred History, adapted to the devotional feelings of a
religious people. In all, the subjects to which painting was applied,
and the character of the art itself, was determined by the peculiar
circumstances or disposition of the people to whom it was addressed: so
that, in these instances, there has really happened what Mr Addison
stated should ever be the case, that "the taste should not conform to
the art, but the art to