DOI Page / Citation link:
https://doi.org/10.11588/diglit.73713#0084
$0 THE WORKS OF
at Rome,) a certain style os nicety and affec-
tation.
France also has had some great men, particu-
larly in composition, in which Nicholas Pousin
was, after Raphael, him who most imitated the
Ryle of the. ancient Greeks. Charles le Brun
was abundant: different other Frenchmen were
men of merit; and whilst their school did not
depart from the Italian maxims, it produced
many good professors, who remained samous in
many parts of the art; but there soon appear-
ed some, who, preferring the magnificent works
of Rubens which were existing at Paris, to the
persect works of Raphael, imitated in part the
pleating objects which nature offered in France,
with the maxims of Rubens, and they sormed a
style which pleases for novelty and brilliancy,
to which that nation is inclined, and abandoned
the Italian taste, forming a national style, in
which, what they call Esprit makes the essen-
tial part. From that time theyno longer painted
either Egyptians, Greeks, Romans, or Bar-
barians as Poussin had done, but always French-
men; and thus they pretended to express by
them the characters os any other nations.
That which I have thought of the other schools
you may draw srom the description which I ihall
give of the works of their belt artists.
Although the little I have said will not be
Efficient to give a compleat idea of the art,
yet I fear that to you it will appear too long
for the short description which I than, give os
the paintings of his Majesty.
at Rome,) a certain style os nicety and affec-
tation.
France also has had some great men, particu-
larly in composition, in which Nicholas Pousin
was, after Raphael, him who most imitated the
Ryle of the. ancient Greeks. Charles le Brun
was abundant: different other Frenchmen were
men of merit; and whilst their school did not
depart from the Italian maxims, it produced
many good professors, who remained samous in
many parts of the art; but there soon appear-
ed some, who, preferring the magnificent works
of Rubens which were existing at Paris, to the
persect works of Raphael, imitated in part the
pleating objects which nature offered in France,
with the maxims of Rubens, and they sormed a
style which pleases for novelty and brilliancy,
to which that nation is inclined, and abandoned
the Italian taste, forming a national style, in
which, what they call Esprit makes the essen-
tial part. From that time theyno longer painted
either Egyptians, Greeks, Romans, or Bar-
barians as Poussin had done, but always French-
men; and thus they pretended to express by
them the characters os any other nations.
That which I have thought of the other schools
you may draw srom the description which I ihall
give of the works of their belt artists.
Although the little I have said will not be
Efficient to give a compleat idea of the art,
yet I fear that to you it will appear too long
for the short description which I than, give os
the paintings of his Majesty.