[P 133] . . . yet. . . that sort of dignity which belongs to savage and uncultivated nature: . . .
Savages are [Fribbles & Fops ] more than any other Men
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Every thing is of a piece: his Rocks, Trees, Sky, even to his handling, . . .
Handling is All that he has. & we all know this
Handling is Labour & Trick
[P 134] . . . Rubens. . . 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, . . .
All Rubens's Pictures are Painted by journeymen & so far from being all of a Piece.
are The most wretched Bungles
[P 135] His Colouring, in which he is eminently skilled, is . . . too much. . . tinted.
Brown somewhat of the Colour of Excrement these are filld with tints & messes of
yellow & red His lights are all the Colours of the Rainbow laid on Indiscriminately &
broken one into another. Altogether his Colouring is Contrary to The Colouring. of
Real Art & Science>
Opposed to this. . . [is the] correct style of Po us sin. . . .
Men of Genius who ever Painted. Rubens & the Venetians are Opposite in every thing
to True Art & they Meant to be so they were hired for this Purpose>
[P 137] [Poussin's later pictures] softer and richer, . . . [but not] at all comparable to many in his
[early] dry manner which we have in England.
The favourite subjects of Po us sin were Ancient Fables; and no painter was ever better qualified
[P 138] Poussin seemed to think that the style and the language [should preserve] some relish of
the old way of painting, . . .

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