Rembrandt, it is well known, had scarcely any idea of beauty or elegance; and as little of that grandeur in the human form, which results from correctness and fulness of outline, added to nobleness of character. He had however a grandeur of his own of a mixed and peculiar kind, produced by the arrangement of his compositions, and even by the form of many of the objects themselves, when set off and partially concealed by the breadth and the disposition of his light and shadow. In that branch of his art in which he is so pre-eminent, he often produces a mystéri ous solemnity, which impresses very grand ideas, and which I am persuaded would add no small degree of grandeur to the figures and compositions of the higher schools. Rembrandt has great variety and truth of expression, though seldom of an elevated kind; one figure of his, however,—the Christ Fight in a number of different directions might produce Neber, as could not be given by putting on the co common way upon a smooth surface. raising Lazarus,-for the simple, yet commanding dignity of the character and action, is perhaps superior to that of any painter who has treated that awful subject. I do not recollect any other figure of his in that style equally striking; but should the Christ be a single instance, it still may shew that genius was not wanting, though early education and habit, and all that he saw around him whether in nature or in art, had given a different bias to his mind. 'That bias seems to have been towards rich, and picturesque effects, especially, those of light and shadow; and the figures, dresses, buildings, scenes which he represented, though they occasionally produced grandeur, were chiefly chosen with a view to such effects. What was his opinion of studying the antique, may be inferred from an anecdote mentioned in his life: he carried one of his visitors into an inward room, and shewing him a parcel of old fashioned dresses, and odd bits of ar mour, there," said he, "are my antiques." Rubens, though he set a just value on ancient statues, and though he endeavoured to gain a more chaste and correct outline by copying, and, as it is said, by tracing the outlines of drawings that were excellent in that respect, could never overcome his original bias. Indeed it may admit of some doubt whether a strict attention to such excellencies be compatible with that peculiar spirit and effect which his works display; and whether he might not have lost more on one side, than he would have gained on the other. Much certainly may be done by early and constant practice, but correctness and purity are allied to caution and timidity; and to be in a high degree correct and chaste in form, spirited in touch, rich in colouring, and splendid in effect, is a combination of which the art of painting since its revival, can hardly be said to have given any perfect example. As the most exquisite of the ancient statues are the acknowledged standards of grandeur and beauty of form, combined with purity and correctness of outline, so the painters who have most formed themselves on those models, however they may have departed from them in certain points, are most distinguished for some of those excellencies; but one very material difference between sculpture and painting, must always be taken into consideration. Insculpture, the whole work being of one uniform colour, and the figures, whether single or grouped, without any accompaniments, there is nothing to seduce or distract the eye from the form; to which therefore the efforts of the sculptor are almost exclusively directed: whereas in painting, the charm of general effect or impression, of whatever kind it may be, will often counterbalance the greatest defects in point of form, and make amends for the want of grandeur, beauty, and correctness. The grandest style of painting is general ly allowed to be that of the Roman and Florentine schools; and among the works produced by them, the fresco paintings of Michael Angelo and Raphael claim the first place, Nearly the same rank may be assigned to the pictures in oil of the same schools, in which, according to Sir Joshua Reynolds, the full unmixed colours, the distinct blues, reds, and yellows, very much conduce to the general grandeur. The style of these schools is more congenial to sculpture than that of any other, as the great masters by which they were rendered so illustrious, directed their chief attention to the same objects as the sculptors; and either rejected, or very sparingly admitted those captivating charms belonging to their own art, of which the other schools have so much availed themselves. This is particularly the case with Michael Angelo, himself a statuary, and at least as eminent in sculpture as in painting: he worked almost entirely in fresco, the grandeur of which was so suited to his genius, that he is said to have declared after a single trial in oil, that oil-painting was fit only for women. works, as it may well be supposed, have nothing of sensual attraction, and the same thing may be said in a great measure of His |