As we were passing through the rooms, in our way to the Gallery, I made him observe a whole length of Charles the First, by Vandyke, as a perfect representation of the character as well as the figure of the man. He agreed it was very fine, but it wanted spirit and contrast, and had not the flowing line, without which a figure could not possibly be graceful. When we entered the Gallery, I thought I could perceive him recollecting his Rules by which he was to criticise Raffaelle. I shall pass over his observation of the boats being too little, and other criticisms of that kind, till we arrived at St. _Paul preaching_. "This," says he, "is esteemed the most excellent of all the Cartoons: what nobleness, what dignity there is in that figure of St. Paul! and yet what an addition to that nobleness could Raffaelle have given, had the art of Contrast been known in his time; but above all, the flowing line, which constitutes Grace and Beauty! You would not then have seen an upright figure standing equally on both legs, and both hands stretched forward in the same direction, and his drapery, to all appearance, without the least art of disposition." The following Picture is the _Charge to Peter_. "Here," says he, "are twelve upright figures; what a pity it is that Raffaelle was not acquainted with the pyramidal principle! he would then have contrived the figures in the middle to have been on higher ground, or the figures at the extremities stooping or lying; which would not only have formed the group into the shape of a pyramid, but likewise contrasted the standing figures. Indeed," added he, "I have often lamented that so great a genius as Raffaelle had not lived in this enlightened age, since the art has been reduced to principles, and had his education in one of the modern Academies; what glorious works might we then have expected from his divine pencil!" I shall trouble you no longer with my friend's observations, which, I suppose, you are now able to continue by yourself. It is curious to observe, that at the same time that great admiration is pretended for a name of fixed reputation, objections are raised against those very qualities by which that great name was acquired. These Critics are continually lamenting that Raffaelle had not the Colouring and Harmony of Rubens, or the Light and Shadow of Rembrandt, without considering how much the gay harmony of the former, and affectation of the latter, would take from the Dignity of Raffaelle; and yet Rubens had great Harmony, and Rembrandt understood Light and Shadow; but what may be an excellence in a lower class of Painting, becomes a blemish in a higher; as the quick, sprightly turn, which is the life and beauty of epigrammatic compositions, would but ill suit with the majesty of heroic Poetry.