Under this head of balancing and choosing the greater reason, or of two evils taking the least, we may consider the conduct of Rubens in the Luxembourg gallery, where he has mixed allegorical figures with the representations of real personages, which must be acknowledged to be a fault; yet, if the artist considered himself as engaged to furnish this gallery with a rich, various, and splendid ornament, this could not be done, at least in an equal degree, without peopling the air and water with these allegorical figures: he therefore accomplished all that he purposed. In this case all lesser considerations, which tend to obstruct the great end of the work, must yield and give way. The variety which portraits and modern dresses, mixed with allegorical figures, produce, is not to be slightly given up upon a punctilio of reason, when that reason deprives the art in a manner of its very existence. It must always be remembered that the business of a great painter is to produce a great picture; he must therefore take especial care not to be cajoled by specious arguments out of his materials. What has been so often said to the disadvantage of allegorical poetry,--that it is tedious, and uninteresting,--cannot with the same propriety be applied to painting, where the interest is of a different kind. If allegorical painting produces a greater variety of ideal beauty, a richer, a more various and delightful composition, and gives to the artist a greater opportunity of exhibiting his skill, all the interest he wishes for is accomplished; such a picture not only attracts, but fixes the attention. If it be objected that Rubens judged ill at first in thinking it necessary to make his work so very ornamental, this puts the question upon new ground. It was his peculiar style; he could paint in no other; and he was selected for that work, probably because it was his style. Nobody will dispute but some of the best of the Roman or Bolognian schools would have produced a more learned and more noble work. This leads us to another important province of taste, that of weighing the value of the different classes of the art, and of estimating them accordingly. All arts have means within them of applying themselves with success both to the intellectual and sensitive part of our natures. It cannot be disputed, supposing both these means put in practice with equal abilities, to which we ought to give the preference; to him who represents the heroic arts and more dignified passions of man, or to him who, by the help of meretricious ornaments, however elegant and graceful, captivates the sensuality, as it may be called, of our taste. Thus the Roman and Bolognian schools are reasonably preferred to the Venetian, Flemish, or Dutch schools, as they address themselves to our best and noblest faculties.