The same excellence of manner which Titian displayed in History or Portrait-painting is equally conspicuous in his Landscapes, whether they are professedly such, or serve only as backgrounds. One of the most eminent of this latter kind is to be found in the picture of St. Pietro Martire. The large trees, which are here introduced, are plainly distinguished from each other by the different manner with which the branches shoot from their trunks, as well as by their different foliage; and the weeds in the foreground are varied in the same manner, just as much as variety requires, and no more. When Algarotii, speaking of this picture, praises it for the minute discriminations of the leaves and plants, even, as he says, to excite the admiration of a Botanist, his intention was undoubtedly to give praise even at the expense of truth; for he must have known that this is not the character of the picture; but connoisseurs will always find in pictures what they think they ought to find: he was not aware that he was giving a description injurious to the reputation of Titian. Such accounts may be very hurtful to young artists, who never have had an opportunity of seeing the work described; and they may possibly conclude that this great Artist acquired the name of the Divine Titian from his eminent attention to such trifling circumstances, which in reality would not raise him above the level of the most ordinary Painter. We may extend these observations even to what seems to have but a single, and that an individual object. The excellence of Portrait-painting, and, we may add, even the likeness, the character, and countenance, as I have observed in another place, depend more upon the general effect produced by the Painter than on the exact expression of the peculiarities, or minute discrimination of the parts. The chief attention of the artist is therefore employed in planting the features in their proper places, which so much contributes to giving the effect and true impression of the whole. The very peculiarities may be reduced to classes and general descriptions; and there are therefore large ideas to be found even in this contracted subject. He may afterwards labour single features to what degree he thinks proper, but let him not forget continually to examine, whether in finishing the parts he is not destroying the general effect. It is certainly a thing to be wished, that all excellence were applied to illustrate subjects that are interesting and worthy of being commemorated; whereas, of half the pictures that are in the world, the subject can be valued only as an occasion which set the artist to work; and yet, our high estimation of such pictures, without considering, or perhaps without knowing the subject, shows how much our attention is engaged by the art alone.