DOI Page / Citation link:
https://doi.org/10.11588/diglit.61012#0096
62
THE FIFTH DISCOURSE.
become the first in his way. If any man shall be master
of such a transcendent, commanding, and ductile genius,
as to enable him to rise to the highest, and to stoop to the
lowest, flights of art, and to sweep over all of them, un-
obstructed and secure, he is fitter to give example than to
receive instruction.
Having said thus much on the union of excellencies, I
will next say something of the subordination in which
various excellencies ought to be kept.
I am of opinion that the ornamental style, which, in my
discourse of last year, I cautioned you against considering
as principal, may not be wholly unworthy the attention
even of those who aim at the grand style, when it is
properly placed and properly reduced.
But this study will be used with far better effect, if its
principles are employed in softening the harshness and
mitigating the rigour of the great style, than if it attempt
to stand forward with any pretensions of its own to
positive and original excellence. It was thus Ludovico
Caracci, whose example I formerly recommended to you,
employed it. He was acquainted with the works both
of Correggio and the Venetian painters, and knew the
principles by which they produced those pleasing effects,
which, at the first glance, prepossess us so much in their
favourj but he took only as much from each as would
embellish, but not overpower, that manly strength and
energy of style which is his peculiar character.
Since I have already expatiated so largely in my former
discourse, and in my present, upon the styles and characters
of Painting, it will not be at all unsuitable to my subject,
if I mention to you some particulars relative to the leading
principles, and capital works, of those who excelled in the
great style, that I may bring you from abstraction nearer
THE FIFTH DISCOURSE.
become the first in his way. If any man shall be master
of such a transcendent, commanding, and ductile genius,
as to enable him to rise to the highest, and to stoop to the
lowest, flights of art, and to sweep over all of them, un-
obstructed and secure, he is fitter to give example than to
receive instruction.
Having said thus much on the union of excellencies, I
will next say something of the subordination in which
various excellencies ought to be kept.
I am of opinion that the ornamental style, which, in my
discourse of last year, I cautioned you against considering
as principal, may not be wholly unworthy the attention
even of those who aim at the grand style, when it is
properly placed and properly reduced.
But this study will be used with far better effect, if its
principles are employed in softening the harshness and
mitigating the rigour of the great style, than if it attempt
to stand forward with any pretensions of its own to
positive and original excellence. It was thus Ludovico
Caracci, whose example I formerly recommended to you,
employed it. He was acquainted with the works both
of Correggio and the Venetian painters, and knew the
principles by which they produced those pleasing effects,
which, at the first glance, prepossess us so much in their
favourj but he took only as much from each as would
embellish, but not overpower, that manly strength and
energy of style which is his peculiar character.
Since I have already expatiated so largely in my former
discourse, and in my present, upon the styles and characters
of Painting, it will not be at all unsuitable to my subject,
if I mention to you some particulars relative to the leading
principles, and capital works, of those who excelled in the
great style, that I may bring you from abstraction nearer