in extremes: Claude in the middle. Rubens carries some one peculiar quality or feature of nature to the utmost verge of probability: Claude balances and harmonises different forms and masses with laboured delicacy, so that nothing falls short, no one thing overpowers another. Rainbows, showers, partial gleams of sunshine, moonlight, are the means with which Rubens produces his most gorgeous and enchanting effects: there are neither rainbows, nor showers, nor sudden bursts of sunshine, nor glittering moonbeams in Claude. He is all softness and proportion: the other is all spirit and brilliant excess. The two sides (for example) of one of Claude’s landscapes balance one another, as in a scale of beauty: in Rubens the several objects are grouped and thrown together with capricious wantonness. Claude has more repose: Rubens more gaiety and extravagance. And here it might be asked, Is a rainbow a picturesque or an ideal object? It seems to me to be both. It is an accident in nature; but it is an inmate of the fancy. It startles and surprises the sense, but it soothes and tranquillises the spirit. It makes the eye glisten to behold it, but the mind turns to it long after it has faded from its place in the sky. It has both properties, then, of giving an extraordinary impulse to the mind by the
