Among the Dutch painters, the correct, firm, and determined pencil, which was employed by Bamboccio and Jean Miel, on vulgar and mean subjects, might, without any change, be employed on the highest; to which, indeed, it seems more properly to belong. The greatest style, if that style is confined to small figures, such as Poussin generally painted, would receive an additional grace by the elegance and precision of pencil so admirable in the works of Teniers; and though the school to which he belonged more particularly excelled in the mechanism of painting; yet it produced many, who have shown great abilities in expressing what must be ranked above mechanical excellencies. In the works of Frank Hals, the portrait-painter may observe the composition of a face, the features well put together, as the painters express it; from whence proceeds that strong-marked character of individual nature, which is so remarkable in his portraits, and is not found in an equal degree in any other painter. If he had joined to this most difficult part of the art a patience in finishing what he had so correctly planned, he might justly have claimed the place which Vandyke, all things considered, so justly holds as the first of portrait-painters. Others of the same school have shown great power in expressing the character and passions of those vulgar people which were the subjects of their study and attention. Among those, Jan Steen seems to be one of the most diligent and accurate observers of what passed in those scenes which he frequented, and which were to him an academy. I can easily imagine, that if this extraordinary man had had the good fortune to have been born in Italy, instead of Holland; had he lived in Rome, instead of Leyden; and been blessed with Michel Angelo and Raffaelle for his masters, instead of Brouwer and Van Goyen; the same sagacity and penetration which distinguished so accurately the different characters and expression in his vulgar figures, would, when exerted in the selection and imitation of what was great and elevated in nature, have been equally successful; and he now would have ranged with the great pillars and supporters of our Art. Men who, although thus bound down by the almost invincible powers of early habits, have still exerted extraordinary abilities within their narrow and confined circle; and have, from the natural vigour of their mind, given a very interesting expression, and great force and energy to their works; though they cannot be recommended to be exactly imitated, may yet invite an artist to endeavour to transfer, by a kind of parody, their excellencies to his own performances. Whoever has acquired the power of making this use of the Flemish, Venetian, and French schools, is a real genius, and has sources of knowledge open to him which were wanting to the great artists who lived in the great age of painting.