So ancient Etna's Sulph'rous Caverns give It must have been observ'd that the Art has flourished at Florence, Rome, Venice, Bologna, &c. In each of which Places the Style of Painting has been Different; as it has been in the feveral Ages in which it has flourished. When it first began to Revive after the Terrible Devastations of Superftition, and Barbarity, it was with a Stiff, Lame manner, which mended by little, and little 'till the time of Mafac Mafaccio, who rose into a Better Taste, and Began what was referved for Rafaelle to Complete. However this Bad Style had fomething Manly, and Vigorous; Whereas in the Decay, whether after the Happy Age of Rafaelle, or that of Annibale One fees an Effeminate, Languid Air, Or if it has not That it has the Vigour of a Bully, rather than of a Brave Man: The Old Bad Painting has more Faults than the Modern, but this falls into the Infipid. The Painters of the Roman School were the Beft Designers, and had more of the Antique Tafte in their Works than any of the Others, but generally they were not good Colourifts; Thofe of Florence were good Defigners, and had a Kind of Greatnefs, but 'twas not Antique. The Venetian, and Lombard Schools had Excellent Colourifts, and a certain Grace but en tirely Modern, especially those of Venice; but their Drawing was generally Incorrect, and their Knowledge in History, and the Antique very little: And the Bolognefe School is a Sort of Compofition of the Others; even Annibale himself poffeffed not any Part of Painting in the Perfection as is to be seen in those from whom His Manner is compos'd, tho' to make amends he poffeffed more Parts than perhaps any Other Mafter, and in a very high Degree. The Works of thofe of the German School have a Drynefs, and ungraceful Stiffnefs, not like what is feen amongst the Old Florentines, That has fomethig in it Pleasing however, but This is Odious, and as remote from the Antique as Gothicifm could carry it. The Flemings have been Good Colourists, and imitated Nature as They conceived it, that is, instead of Raifing Nature, they fell below it, it, tho' not fo much as the Germans, nor in the fame Manner; Rubens himfelf Liv'd, and Dy'd a Fleming, tho' he would fain have been an Italian; but his Imitators have Caricatura'd His Manner, that is they have been more Rubens in his Defects than he himself was, but without his Excellencies. The French (Excepting fome few of them, N. Pouffin, Le Seur, Sebaftien Bourdon, &c.) as they have not the German Stiffness, nor the Flemish Ungracefulness, neither have they the Italian Solidity; and in their Airs of Heads, and Manners, they are easily distinguish'd from the Antique how much foever they may have endeavour'd to imitate them. Which have been the moft Excellent Painters the Ancients, or the Moderns is a Question often propos'd, and which I will try to refolve. That the Painters of Thofe times were Equal to the Sculptors in Invention, Expreffion, Drawing, Grace, and Greatness is fo exceeding probable that I think it may be taken for granted. If so, that in Drawing, Grace, and Greatness the Ancients have the Advantage is certain; and little lefs than certain that in Colouring, and Compofition the Moderns have it More. But tho' That be true, Those Parts of Painting being not fo Confiderable as the Other in which the Moderns are outdone, it will hardly reduce the Matter to an Equality, the Advantage will remain to the Ancients fo far as we have gone. It remains that We confider the other Parts of Painting, the Invention, and Expreffion : The manner of Thinking of the Ancients is fuch as is not to be mention'd without the utmost Veneration allow'd to be given to Mortal Men; But when I fee what Some |