Poussin: famous for his classic style. Reynolds says: “No works of any modern have so much the air of antique painting as those of Poussin” (1593-1665).
Poussin (Gaspar): a landscape painter, the very opposite of Claude Lorraine. He seems to have drawn his inspiration from Hervey’s Meditations Among the Tombs, Blair’s Grave, Young’s Night Thoughts, and Burton’s Anatomy of Melancholy (1613-1675).
Raphael: the Sophoclês of painters. Angelo’s figures are all gigantesque and ideal, like those of Æschylos. Raphael’s are perfect human beings (1483-1520).
Reynolds: a portrait-painter. He presents his portraits in bal masqué, not always suggestive either of the rank or character of the person represented. There is about the same analogy between Watteau and Reynolds as between Claude Lorraine and Gaspar Poussin (1723-1792).
Rosa (Salvator): dark, inscrutable pictures, relieved by dabs of palette-knife. He is fond of savage scenery, broken rocks, wild caverns, blasted heaths, and so on (1615-1673).
Rubens: patches of vermillion dabbed about the human figure, wholly out of harmony with the rest of the coloring (1577-1640).
Steen (Jan): an old woman peeling vegetables, with another old woman looking at her (1636-1679).
Tintoretti: full of wild fantastical inventions. He is called “The Lightning of the Pencil” (1512-1594).
Titian: noted for his broad shades of divers gradations (1477-1576).
Veronese (Paul): noted for his great want of historical correctness and elegance of design; but he abounds in spirited banquets, sumptuous edifices, brilliant aerial spectres, magnificent robes, gaud, and jewelry (1530-1588).