But even the nameless persons painted by great men have often a character and style which belong to historic treatment, and must not be confounded with what Fuseli aptly calls “the remembrancers of insignificance,” a class, however, not without merit, for it often gratifies the affection of friendship, recals pleasing recollections, and at worst, affords the painter occasions for the study of nature. PICTURES OF FAMILIAR LIFE Admit of being distributed into Grave familiar subjects; And subjects of Farce or Caricature. That the ancients cultivated this branch of painting, I have already mentioned, and given an example in Pyreicus, nick-named Rhyparographus, on account of his pictures of shops and booths, of markets, and those who supplied them, along with their beasts of burden. Callicles and Calaces were both painters of little pictures, exhibited along with plays and interludes, and no small number of painters caricatured the remarkable public and private men of their times, by representing them under the forms of animals and insects of different kinds. Of the graver familiar life painters among the moderns, Ostade, Jan Stein, Gerard Dow, Metzu, Terburg, have left innumerable examples, nor have they failed in the class where Teniers holds the pre-eminence of broader farce. Had I not resolved against naming our own living artists, I should have great examples to place in both these classes. In caricature, from the days of Patch and Bunbury to the present time, we have exceeded all times and nations. LANDSCAPE. Of the four distinct kinds of landscape, the Epic landscape in the hands of Titian or Poussin unites with the grandest subjects of painting. How admirably the landscape in the Peter Martyr aids the subject! and in Sebastian del Piombo’s altar-piece at Viterbo, how grand is the effect of that low horizon and rocky barren distance seen faintly by the moonlight! Poussin’s Deluge is of the same sublime character and hue, and as in the other two examples lends force to the figures to which it is subordinate. Of a more cheerful character other landscapes of Titian, some of Mola, and many of Poussin, which I should call historical, divide the interest with the figures, or rather the figures gain by being placed in such scenes; Poussin’s Burial of Phocion[201], his two Israelites bearing the Bunch of Grapes from the promised Land[202], the Exposure and the Finding of Moses[203], are but a few of those he has painted of this character, in which he is the great master.