perceive the different effects manifeft in the countenance and geftures of the several dif ciples: The two foremost approve the action; the one, with the calmness of age and judgment, the other, with the eagarness of youth and paffion. Of the two, which follow, the one has his eyes fixed earnestly on the face of Chrift: The fecond, feems fufpended between felf-love and the juftice of the choice. The remaining fix are divided into two groupes; in the former of which, the foremost figure, of a bilious and meager temperament, looks haftily for the agreement of the next to him; who, of a quite different complexion, feems loft in a fimple and implicit admiration: Whilft the third, piqued at their approbation, marks by an impatience in his looks, and a reftlefsnefs of action, how ill fatisfied he is with the preference given to Peter. The laft groupe confifts, like the former, of three figures; figures; the hindmoft is, by a concealment of his countenance and action, withdrawn, as it were, from the scene. This gives a kind of repose to the imagination, and adds a fpirit to the expreffions in the other two; of whom, one, under a knit brow and forced compofure, fwells with a fullen difcontent; but the other, of a more active and fiery nature, breaks out into an open and ungoverned expreffion of envy. Upon the whole, if we confider the fimplicity of the fubject, the variety and judicious contrafts in the characters, the juftnefs and delicacy in the expreffions, we must confefs, that, however unequal Raphael may be to the enthusiasm and pathetic of the antique, he is an abfolute mafter of the fubordinate affections; and admirable, in tracing through middle life, the various and fubtile workings of character. It would take up too much of our time, to go through the feveral in ftances of the fagacity and conduct of this painter; yet one is fo fingular in its kind, that I cannot pafs it in filence. When the inhabitants of Lyftra are about to offer facrifice to Paul and Barnabas, it was neceffary to let us into the cause of all the motion and hurry before us; accordingly, the cripple, whom they had miraculously healed, appears in the crowd: Obferve the means which the painter has used, to distinguish this object, and, of course, to open the subject of his piece. His crutches, now uselefs, are thrown to the ground; his attitude is that of one accustomed to fuch a fupport, and ftill doubtful of his limbs; the eagernefs, the impetuofity with which he folicits his benefactors, to accept the honours deftined for them, point out his gratitude, and the occafion of it: During the time that he is thus bufied, an elderly citizen, of fome confequence by his appearance, draws near, and and lifting up the corner of his veft, furveys with astonishment the limb newly restored; whilst a man of middle age, and a youth, looking over the shoulder of the cripple, are intent on the fame object. The wit of man could not devife means more certain of the end propofed; fuch a chain of circumftances is equal to a narration: And, I cannot but think, that the whole would have been an example of invention and conduct, even in the happiest age of antiquity. B. You have at length done juftice to our great modern; and, it should seem to me, from the light you have thrown on this fubject, that the true difference between the ancients and him, confifts in this, that the former drew the paffions to a point, collecting the powers of painting to one fingle and forcible expreffion; whilst the genius of Raphael, more placid and diffused, illuN 3 mines mines and is reflected by numberless objects. A. We may add to your obfervation ano ther reafon why the paintings of the ancients had greater effect than thofe of the moderns; they poffeffed more parts: Let me explain myself. In order to have a juft idea of the different parts of painting, we are obliged to ftudy different mafters; for colouring, Titian; for the clear obfcure, Correggio; for defign and compofition, Raphael: It will not be denied, that, had the laft of thefe, united to his own the excellencies of the other two, his works would have had more the air of truth; and (which is the end of all imitative arts) ftood more naturally in the place of the things which they reprefent: It is this nearnefs to truth, or excellency in the mechanic, which imposes on our fenfes, and gives its powers to the ideal: Now, |