examples from Raffaelle, the good effect of setting aside these
academical rules. We suspect that they are never less wanted than when
they give direction to attitudes and forms of action. He admits that, in
order "to excite attention to the more manly, noble, and dignified
manner," he had perhaps left "an impression too contemptuous of the
ornamental parts of our art." He had, to use his own expression, bent
the bow the contrary way to make it straight. "For this purpose, then,
and to correct excess or neglect of any kind, we may here add, that it
is not enough that a work be learned--it must be pleasing." Pretty much
as Horace had said of poetry,

"Non satis est pulchra esse poemata, _dulcia_ sunto."

To which maxim the Latin poet has unconsciously given the grace of
rhyme--

"Et quocunque volent animum auditoris agunto."

He again shows the danger of particular practical rules.--"It is given
as a rule by Fresnoy, that '_the principal figure of a subject must
appear in the midst of the picture, under the principal light, to
distinguish it from the rest._' A painter who should think himself
obliged strictly to follow this rule, would encumber himself with
needless difficulties; he would be confined to great uniformity of
composition, and be deprived of many beauties which are incompatible
with its observance. The meaning of this rule extends, or ought to
extend, no further than this: that the principal figure should be
immediately distinguished at the first glance of the eye; but there is
no necessity that the principal light should fall on the principal
figure, or that the principal figure should be in the middle of the