Page:Reflections upon ancient and modern learning (IA b3032449x).pdf/113

 the O of Giotto. That when Poussin's Hand shook so much, that he could scarce manage his Pencil, he painted some Pieces of inestimable Value; and yet very indifferent Painters would have divided every Line that he drew, into nine or ten Parts. That the Chineses, who cannot yet express Life and Passion in their Pieces, will draw the Hairs of the Face and Beard so fine, that one may part them with the Eye from one another, and tell them. Though the Ancients went much beyond all this; for the Remains of the ancient Painting discover great Skill in Designing, great Judgment in Ordering of the Postures, much Nobleness and Majesty in the Airs of the Heads; but little Art, at the same time, in the Mixing of their Colours, and none at all in the Perspective, or the Placing of the Figures. That their Colouring is all equally strong; nothing comes forward, nothing falls back in their Pictures; the Figures are almost. all upon a Line: So that their Paintings appear like Pieces in Basso Relievo, coloured; all dry and unmoveable, without Union, without Connexion, and that living Softness which distinguishes Pictures from Statues in Marble or Copper. Wherefore, since the