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651
Light
&
Shadow depends on Distinctness of Form]
Necessary to the Ornamental
Style-- which altogether depends on Distinctness of Form. The Venetian ought not to
be calld the Ornamental Style>
[P 94] The language of Painting must indeed be allowed these masters [the Venetians]; . . .
The Language of Painters cannot be allowd them if Reynolds says right at p. 97 he
there says that the Venetian Will Not Correspond with the Great Style
[P 95] Such as suppose that the great style might happily be blended with the ornamental, that
the simple, grave and majestick dignity of Raffaelle could unite with the glow and bustle of a
Paolo, or Tintoret, are totally mistaken.
What can be better Said, on this Subject? but Reynolds contradicts what he says
Continually He makes little Concessions, that he may take Great Advantages
[P 97] And though in [co louring] the Venetians must be allowed extraordinary skill, yet even that
skill, as they have employed it, will but ill correspond with the great style.
[
said]
it>
[P 98] . . . Michael Angelo [thought] that the principal attention of the Venetian painters [was to]
the study of colours, to the neglect of the IDEAL BEAUTY OF FORM,. . . .
Venetian Attention is to a Contempt & Neglect of Form Itself & to the Destruction of
all Form or Outline
But if general censure was given to that school from the sight of a picture of Titian. . . .
As if Mich. Ango. had seen but One Picture of Titians
Mich. Ang. Knew & Despised all that Titian could do
He makes the Lame to walk we all agree
But then he strives to blind those who can see.>
[P 99]
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