The reasoning of the Discourses is, I think, then, deficient in the following particulars:
1. It seems to imply that general effect in a picture is produced by leaving out the details, whereas the largest masses and the grandest outline are consistent with the utmost delicacy of finishing in the parts.
2. It makes no distinction between beauty and grandeur, but refers both to an ideal or middle form, as the centre of the various forms of the species, and yet inconsistently attributes the grandeur of Michael Angelo’s style to the superhuman appearance of his prophets and apostles.
3. It does not at any time make mention of power or magnitude in an object as a distinct source of the sublime (though this is acknowledged unintentionally in the case of Michael Angelo, &c.) nor of softness or symmetry of form as a distinct source of beauty, independently of, though still in connection with another source arising from what we are accustomed to expect from each individual species.
4. Sir Joshua’s theory does not leave room for character, but rejects it as an anomaly.
5. It does not point out the source of expression, but considers it as hostile to beauty; and yet, lastly, he allows that the middle form,
