Ful. The Dutch picture in the next room has nothing that is offensive: but an Augean stable, even before Hercules had cleaned it, would be less shocking to me than those fluted pillars; for nobody can please my eye that affronts my understanding: When I desire a man to paint a considerable history, which every body knows to have been transacted at a country inn, does he not strangely impose upon me, because he understands architecture, to draw me a room that might have served for a great hall, or banqueting-house, to any Roman emperor? Besides, that the poor and abject state in which our Saviour chose to appear at his coming into the world, is the most material circumstance of the history: it contains an excellent moral against vain pomp, and is the strongest persuasive to humility, which, in the Italian, are more than lost. Hor. Indeed, Madam, experience is against you; and it is certain, that, even among the vulgar, the representations of mean and abject things, and such as they are familiar with, have not that effect, and either breed contempt, or are insignificant: whereas vast piles, stately buildings, roofs of uncommon height, surprising ornaments, and all the architecture of the grand taste, are the fittest to raise devotion, and inspire men with veneration, and a religious awe for the places that have these excellencies to boast of. Is there ever a meeting-house or barn to be compared to a fine cathedral, for this purpose? Ful. I believe there is a mechanical way of raising devotion in silly superstitious creatures; but an attentive contemplation on the works of God, I am sure---- Cleo. Pray, cousin, say no more in defence of your low taste: The painter has nothing to do with the truth of the history; his business is to express the dignity of the subject, and, in compliment to his judges, never to forget the excellency of our species: All his art and good sense must be employed in raising that to the highest pitch; Great masters do not paint for the common people, but for persons of refined understanding: What you complain o£ is the effect of the good manners and complaisance of the painter. When he had drawn the Infant and the Madona, he thought the least glimpse of the ox and the ass would be sufficient to acquaint you with the history: They who want more fescuing, and a broader explanation, he does not desire his picture should ever be shown to; for the rest, he entertains you with nothing but what is noble and worthy your attention: You see he is an architect, and completely skilled in perspective, and he shows you how finely he can round a pillar, and that both the depth, and the height of a space, may be drawn on a flat, with all the other wonders he performs by his skill in that inconceivable mystery of light and shadows. Ful. Why then is it pretended that painting is an imitation of nature?