But there is another style, which, though inferior to the former, has still great merit, because it shows that those who cultivated it were men of lively and vigorous imagination.This I call the original or characteristical style; this, being less referred to any true architype existing either in general or particular nature, must be supported by the painter's consistency in the principles he has assumed, and in the union and harmony of his whole design.The excellency of every style, but I think of the subordinate ones more especially, will very much depend on preserving that union and harmony between all the component parts, that they appear to hang well together, as if the whole proceeded from one mind.It is in the works of art, as in the characters of men.The faults or defects of some men seem to become them when they appear to be the natural growth, and of a piece with the rest of their character.A faithful picture of a mind, though it be not of the most elevated kind, though it be irregular, wild, and incorrect, yet if it be marked with that spirit and firmness which characterises works of genius, will claim attention, and be more striking than a combination of excellences that do not seem to hang well together, or we may say than a work that possesses even all excellences, but those in a moderate degree.
One of the strongest marked characters of this kind, which must be allowed to be subordinate to the great style, is that of Salvator Rosa.He gives us a peculiar cast of nature, which, though void of all grace, elegance, and simplicity; though it has nothing of that elevation and dignity which belongs to the grand style, yet has that sort of dignity which belongs to savage and uncultivated nature.But what is most to be admired in him is the perfect correspondence which he observed between the subjects which he chose, and his manner of treating them.Everything is of a piece: his rocks, trees, sky, even to his handling havethe same rude and wild character which animates his figures.
To him we may contrast the character of Carlo Maratti, who, in my own opinion, had no great vigour of mind or strength of original genius.He rarely seizes the imagination by exhibiting the higher excellences, nor does he captivate us by that originality which attends the painter who thinks for himself.He knew and practised all the rules of art, and from a composition of Raffaelle, Caracci, and Guido, made up a style, of which its only fault was, that it had no manifest defects and no striking beauties, and that the principles of his composition are never blended together, so as to form one uniform body, original in its kind, or excellent in any view.
I will mention two other painters who, though entirely dissimilar, yet by being each consistent with himself, and possessing a manner entirely his own, have both gained reputation, though for very opposite accomplishments.
The painters I mean are Rubens and Poussin.Rubens I mention in this place, as I think him 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 that one can scarce be brought to believe but that if any one of them had been more correct and perfect, his works would not be so complete as they now appear.If we should allow a greater purity and correctness of drawing, his want of simplicity in composition, colouring, and drapery would appear more gross.
In his composition his art is too apparent.His figures have expression, and act with energy, but without simplicity or dignity.His colouring, in which he is eminently skilled, is, notwithstanding, too much of what we call tinted.Throughout the whole of his works there is a proportionable want of that nicety of distinction and elegance of mind which is required in the higher walks of painting; and to this want it may be in some degree ascribed that those qualities which make the excellency of this subordinate style appear in him with their greatest lustre.Indeed, the facility with which he invented, the richness of his composition, the luxuriant harmony and brilliancy of his colouring, so dazzle the eye, that whilst his works continue before us we cannot help thinking that all his deficiencies are fully supplied.
Opposed to this florid, careless, loose, and inaccurate style, that of the ******, careful, pure, and correct style of Poussin seems to be a complete contrast.
Yet however opposite their characters, in one thing they agreed, both of them having a perfect correspondence between all the parts of their respective manners.
One is not sure but every alteration of what is considered as defective in either, would destroy the effect of the whole.
Poussin lived and conversed with the ancient statues so long, that he may be said to be better acquainted with then than with the people who were about him.I have often thought that he carried his veneration for them so far as to wish to give his works the air of ancient paintings.It is certain he copied some of the antique paintings, particularly the "Marriage in the Albrobrandini Palace at Rome," which I believe to be the best relique of those remote ages that has yet been found.
No works of any modern has so much of the air of antique painting as those of Poussin.His best performances have a remarkable dryness of manner, which, though by no means to be recommended for imitation, yet seems perfectly correspondent to that ancient simplicity which distinguishes his style.Like Polidoro he studied them so much, that he acquired a habit of thinking in their way, and seemed to know perfectly the actions and gestures they would use on every occasion.
