These, along with other similar qualities that flatter the eye of the spectator, that attract the learned and the unlearned, and seem to transport the mind by the novelty and the reality of the representation, constitute a style which is termed by Reynolds the ornamental, who, likewise, among all the schools, yields the palm in this to the Venetians; a style afterwards introduced by Vovet into France, by Rubens into Flanders, and by Giordano into Naples and into Spain. The same English critic places it in the second rank, next to the grand style, and remarks that the professors of the sublime were fearful of falling into luxurious and pompous exhibitions of the accessaries; no less because prejudicial to the artist's industry in point of design and in point of expression, than because the transitory impression which it produces upon the spectator, seldom reaches the heart. And truly, as the sublime of Tully is more simple than the ornament of Pliny, and seems to dread any excitement of admiration for the beautiful, lest its energy should be unnerved by too studied a degree of elegance; so is it with the grandeur of Michelangiolo and of Raffaello, that without seeking to occupy us with the illusions of art, goes at once to the heart; terrifies or inspires us; awakens emotions of pity, of veneration, and the love of truth, exalting us, as it were, above ourselves, and leading us to indulge, even in spite of ourselves, the most delicious of all feelings, in that of wonder. It is upon this account that Reynolds considered it dangerous for students to become enamoured of the Venetian style; an opinion, which, judiciously understood, may prove of much service to such artists as are calculated to succeed in the more sublime. But since amidst such diversity of talent, there must appear artists better adapted to adorn than to express; it would not be advisable that their genius should be urged into a career in which it will leave them always among the last, withdrawing them, at the same time, from another in which they might have taken the lead. Let him, therefore, who in this art of silent eloquence possesses not the energy and spirit of Demosthenes, apply himself wholly, heart and soul, to the elegance, the pomp, and the copiousness of Demetrius Phalereus.