In another Discourse he says that we cannot Mix the Florentine & Venetian

[P 251] [Rembrandt] often. . . exhibits little more than one spot oflight in the midst of a large

quantity of shadow: . . . Poussin . . . has scarce any principal mass of light. . . .

Rembrandt was a Generalizer Poussin was a Particularizer

Poussin knew better tha[ n] to make all his Pictures have the same light & shadow any

fool may concentrate a light in the Middle

[P 256] . . . Titian, where dignity. . . has the appearance of an unalienable adjunct; . . .

Dignity an Adjunct

[P 260] [Young artist made vain by] certain animating words, of Spirit, Dignity, Energy, Grace,

greatness of Style, and brilliancy of Tints, . . .

Mocks

[P 262] But this kind of barbarous simplicity, would be better named Penury, . . .

Mocks

[The ancients'] simplicity was the offspring, not of choice, but necessity.

A Lie

[Painters who] ran into the contrary extreme [should] deal out their abundance with a more

sparing hand, . . .

Abundance of Stupidity

[P 264] . . . the painter must add grace to strength, if he desires to secure the first impression in

his favour.

If you Endeavour to Please the Worst you will never Please the Best To please All Is

Impossible

[P 266] [Raffaelle's St Paul preaching at Athens] . . . add contrast, and the whole energy and

unaffected grace of the figure is destroyed.

Well Said

[P 267] It is given as a rule by Fresnoy, That the principle figure. . . must appear. . . under the

principal light, . . .