Well-turned periods in eloquence, or harmony of numbers in poetry, which are in those arts what colouring is in painting, however highly we may esteem them, can never be considered as of equal importance with the art of unfolding truths that are useful to mankind, and which make us better or wiser. Nor can those works which remind us of the poverty and meanness of our nature be considered as of equal rank with what excites ideas of grandeur, or raises and dignifies humanity; or, in the words of a late poet, which makes the beholder _learn to venerate himself as man_.[5] It is reason and good sense, therefore, which ranks and estimates every art, and every part of that art, according to its importance, from the painter of animated down to inanimated nature. We will not allow a man, who shall prefer the inferior style, to say it is his taste; taste here has nothing, or at least ought to have nothing, to do with the question. He wants not taste, but sense and soundness of judgment. Indeed, perfection in an inferior style may be reasonably preferred to mediocrity in the highest walks of art. A landscape of Claude Lorrain may be preferred to a history by Luca Giordano; but hence appears the necessity of the connoisseur's knowing in what consists the excellency of each class, in order to judge how near it approaches to perfection. Even in works of the same kind, as in history-painting, which is composed of various parts, excellence of an inferior species, carried to a very high degree, will make a work very valuable, and in some measure compensate for the absence of the higher kinds of merit. It is the duty of the connoisseur to know and esteem, as much as it may deserve, every part of painting: he will not then think even Bassano unworthy of his notice; who, though totally devoid of expression, sense, grace, or elegance, may be esteemed on account of his admirable taste of colours, which, in his best works, are little inferior to those of Titian. Since I have mentioned Bassano, we must do him likewise the justice to acknowledge, that though he did not aspire to the dignity of expressing the characters and passions of men, yet, with respect to facility and truth in his manner of touching animals of all kinds, and giving them what painters call _their character_, few have excelled him. To Bassano we may add Paul Veronese and Tintoret, for their entire inattention to what is justly thought the most essential part of our art, the expression of the passions. Notwithstanding these glaring deficiencies, we justly esteem their works; but it must be remembered, that they do not please from those defects, but from their great excellencies of another kind, and in spite of such transgressions. These excellencies, too, as far as they go, are founded in the truth of _general_ nature: they tell the _truth_, though not _the whole truth_.