enough; each person should also have that expression which men of his
rank generally exhibit. The joy or the grief of a character of dignity
is not to be expressed in the same manner as a similar passion in a
vulgar face. Upon this principle Bernini, perhaps, may be subject to
censure. This sculptor, in many respects admirable, has given a very
mean expression to his statue of David, who is represented as just going
to throw the stone from the sling; and in order to give it the expression
of energy he has made him biting his under-lip. This expression is far
from being general, and still farther from being dignified. He might
have seen it in an instance or two, and he mistook accident for
universality.

With respect to colouring, though it may appear at first a part of
painting merely mechanical, yet it still has its rules, and those
grounded upon that presiding principle which regulates both the great and
the little in the study of a painter. By this, the first effect of the
picture is produced; and as this is performed the spectator, as he walks
the gallery, will stop, or pass along. To give a general air of grandeur
at first view, all trifling or artful play of little lights or an
attention to a variety of tints is to be avoided; a quietness and
simplicity must reign over the whole work; to which a breadth of uniform
and simple colour will very much contribute. Grandeur of effect is
produced by two different ways, which seem entirely opposed to each
other. One is, by reducing the colours to little more than chiaroscuro,
which was often the practice of the Bolognian schools; and the other, by
making the colours very distinct and forcible, such as we see in those of
Rome and Florence; but still, the presiding principle of both those
manners is simplicity. Certainly, nothing can be more simple than
monotony, and the distinct blue, red, and yellow colours which are seen
in the draperies of the Roman and Florentine schools, though they have