Of those who have practised the composite style, and have succeeded in this perilous attempt, perhaps the foremost is Correggio. His style is founded upon modern grace and elegance, to which is superadded something of the simplicity of the grand style. A breadth of light and colour, the general ideas of the drapery, an uninterrupted flow of outline, all conspire to this effect. Next to him (perhaps equal to him), Parmegiano has dignified the genteelness of modern effeminacy, by uniting it with the simplicity of the ancients and the grandeur and severity of Michel Angelo. It must be confessed, however, that these two extraordinary men, by endeavouring to give the utmost degree of grace, have sometimes, perhaps, exceeded its boundaries, and have fallen into the most hateful of all hateful qualities--affectation. Indeed, it is the peculiar characteristic of men of genius to be afraid of coldness and insipidity, from which they think they never can be too far removed. It particularly happens to these great masters of grace and elegance. They often boldly drive on to the very verge of ridicule; the spectator is alarmed, but at the same time admires their vigour and intrepidity:-- "Strange graces still, and stranger flights they had, * * * * * * Yet ne'er so sure our passion to create, As when they touch'd the brink of all we hate." The errors of genius, however, are pardonable, and none even of the more exalted painters are wholly free from them; but they have taught us, by the rectitude of their general practice, to correct their own affected or accidental deviation. The very first have not been always upon their guard, and perhaps there is not a fault but what may take shelter under the most venerable authorities; yet that style only is perfect, in which the noblest principles are uniformly pursued; and those masters only are entitled to the first rank in our estimation who have enlarged the boundaries of their art, and have raised it to its highest dignity, by exhibiting the general ideas of nature. On the whole, it seems to me that there is but one presiding principle which regulates and gives stability to every art. The works, whether of poets, painters, moralists, or historians, which are built upon general nature, live for ever; while those which depend for their existence on particular customs and habits, a partial view of nature, or the fluctuation of fashion, can only be coeval with that which first raised them from obscurity. Present time and future may be considered as rivals; and he who solicits the one must expect to be discountenanced by the other. DISCOURSE V. _Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, December 10, 1772._