But there is another style, which, though inferior to the former, has still great merit, because it shows that those who cultivated it were men of lively and vigorous imagination. This, which may be called the original or characteristical style, being less referred to any true archetype existing either in general or particular nature, must be supported by the painter's consistency in the principles which he has assumed, and in the union and harmony of his whole design. The excellency of every style, but of the subordinate styles more especially, will very much depend on preserving that union and harmony between all the component parts, that they may appear to hang well together, as if the whole proceeded from one mind. It is in the works of art as in the characters of men. The faults or defects of some men seem to become them when they appear to be the natural growth, and of a piece with the rest of their character. A faithful picture of a mind, though it be not of the most elevated kind, though it be irregular, wild, and incorrect, yet if it be marked with that spirit and firmness which characterise works of genius, will claim attention, and be more striking than a combination of excellencies that do not seem to unite well together; or we may say, than a work that possesses even all excellencies, but those in a moderate degree. One of the strongest-marked characters of this kind, which must be allowed to be subordinate to the great style, is that of Salvator Rosa. He gives us a peculiar cast of nature, which, though void of all grace, elegance, and simplicity, though it has nothing of that elevation and dignity which belongs to the grand style, yet has that sort of dignity which belongs to savage and uncultivated nature: but what is most to be admired in him is the perfect correspondence which he observed between the subjects which he chose and his manner of treating them. Everything is of a piece: his Rocks, Trees, Sky, even to his handling, have the same rude and wild character which animates his figures. With him we may contrast the character of Carlo Maratti, who, in my opinion, had no great vigour of mind or strength of original genius. He rarely seizes the imagination by exhibiting the higher excellencies, nor does he captivate us by that originality which attends the painter who thinks for himself. He knew and practised all the rules of art, and from a composition of Raffaelle, Caracci, and Guido, made up a style, of which the only fault was, that it had no manifest defects and no striking beauties; and that the principles of his composition are never blended together so as to form one uniform body, original in its kind, or excellent in any view.