so different a style, was so managed by Reynolds as to satisfy, in this respect, the most fastidious taste. The secret of the greatness of his style in these subjects, and indeed in most of his portraits, is to be sought in his colouring, the idea of which is large and general; and under its dignified influence the individuality of forms and locality of dress are rendered with all sufficient fidelity without offending. It is thus we find in many Venetian, Flemish, and Dutch pictures, where the subject and forms are most homely, an air of refined taste, and even of grandeur, which seems unaccountable, till we discover that the colouring is true to the largest idea of nature; and thus, to a certain extent, the art is raised by raising its characteristic quality. In short, to return to the question of his imitation of Michael Angelo, we should find that, keeping the main requisites and attainable excellences of portrait painting in view, Reynolds contrived to infuse into it as much elevation as was calculated to improve it without injuring its character; and when we find that he applied this even to execution, and that his breadth of manner, his disdain of non-essentials, is evidently inspired by the same feeling, we shall no longer wonder at his admiration of the highest style of art, or doubt the sincerity of his recorded professions on the subject. The very _indirectness_ of his imitation, in which the whole mystery lies, so sure a proof of his having penetrated the principle of the great master, establishes his claim to originality as well as to consummate judgment and taste.