RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719.1 quotations
The Works of those [ndr : painters] of the German School have a Dryness, and ungracefull Stiffness, not like what is seen amongst the Old Florentines, That has something in it Pleasing however, but This is Odious, and as remote from the Antique as Gothicism could carry it.
It must be consider’d they [ndr : les cartons de Raphaël] were made for Patterns for Tapistry, not profess’d Pictures, and painted, not in Oil, but in Distemper : If therefore one sees not the Warmth, and Mellowness, and Delicacy of Colouring which is to be found in Correggio, Titian, or Rubens, it may fairly be imputed in a great measure to these Causes. A Judicious Painter has other Considerations relating to the Colouring when he makes Patters for Tapistry to be heightned with Gold, and Silver, than when he paints a Picture without such View ; nor can a sort of Dryness, and Harshness be avoided in Distemper, upon Paper : Time moreover has apparently chang’d some of the Colours. In a word, the Tout-Ensemble of the Colours is Agreeable, and Noble ; and the Parts of it are in General Extreamly, but not Superlatively Good.