[Footnote 4: The characteristic beauties of Italy are no proof of the picturesque taste of the Italians themselves, as planners and architects. The commanding situation of their villages, and the small proportion of window to wall, are circumstances favourable to landscape, but intended merely as the means of catching and retaining cool air. Their classical ruins are preserved as a source of pride and profit, and the natural features of the country cannot be altered.] The fairest account of the matter, perhaps, is, that this inferiority in one branch of taste may result from a difference of temperament in our lively southern neighbours, which, in other respects, has its advantages. Restless, acute, and loquacious, they delight more naturally in those objects which remind them of the "busy hum of men:" and, whatever the force of circumstances may have effected in particular cases, it may be safely asserted, that the diplomatist and man of the world is the indigenous growth of France and Italy, while the powers of abstraction and meditation exist more naturally in English and German minds, inducing the love of solitary nature. The styles of Claude, who was a German by birth, and of our own Wilson, are strongly contrasted with that of Vernet, as illustrative of the present subject. In the admirable paintings of the latter, bustle and motion are generally the characteristics of the scene represented, and the features of nature seem intended to be subordinate to some human action which is going on. In the pictures of Claude, the combinations of scenery are every thing, and the figures nothing, or rather, merely introduced to illustrate and harmonize with the effect which the landscape itself is to produce: and nothing is allowed to disturb the repose and serenity of the whole. Of Wilson, who delighted more in storms and convulsions of nature, it may be said, that his figures, also are merely subordinate to the effect of a dashing sea, a thunder-cloud, or a forest waving and crashing with the wind; and that they are not strongly enough marked to interrupt the eye in the contemplation of these objects. Gaspar Poussin, I must own, is an instance that a French painter can understand and represent the deep repose of nature; but the style of Poussin is certainly not that of the French school in general, nor that of Salvator to be considered as establishing a rule by which to judge of Italian taste.