advances, as matter of praise, that the plants are discriminated
"just as much as was necessary for variety, and no more." Had this
foreground been occupied by a group of animals, we should have been
surprised to be told that the lion, the serpent, and the dove, or
whatever other creatures might have been introduced, were distinguished
from each other just as much as was necessary for variety, and no more.
Yet is it to be supposed that the distinctions of the vegetable world
are less complete, less essential, or less divine in origin, than those
of the animal? If the distinctive forms of animal life are meant for our
reverent observance, is it likely that those of vegetable life are made
merely to be swept away? The latter are indeed less obvious and less
obtrusive; for which very reason there is less excuse for omitting them,
because there is less danger of their disturbing the attention or
engaging the fancy.

But Sir Joshua is as inaccurate in fact, as false in principle. He
himself furnishes a most singular instance of the very error of which he
accuses Vaseni,--the seeing what he expects; or, rather, in the present
case, not seeing what he does not expect. The great masters of Italy,
almost without exception, and Titian perhaps more than any, (for he had
the highest knowledge of landscape,) are in the constant habit of
rendering every detail of their foregrounds with the most laborious
botanical fidelity: witness the "Bacchus and Ariadne," in which the
foreground is occupied by the common blue iris, the aquilegia, and the
wild rose; _every stamen_ of which latter is given, while the blossoms
and leaves of the columbine (a difficult flower to draw) have been
studied with the most exquisite accuracy. The foregrounds of Raffaelle's
two cartoons,--"The Miraculous Draught of Fishes" and "The Charge to
Peter,"--are covered with plants of the common sea colewort, (_crambe
maritima_,) of which the sinuated leaves and clustered blossoms would
have exhausted the patience of any other artist; but have appeared
worthy of prolonged and thoughtful labor to the great mind of Raffaelle.

It appears then, not only from natural principles, but from the highest
of all authority, that thorough knowledge of the lowest details is
necessary and full expression of them right, even in the highest class
of historical painting; that it will not take away from, nor interfere
with, the interest of the figures; but, rightly managed, must add to