It has been thought, and I believe with reason, that Michael
Angelo sometimes transgressed those limits; and, I think, I have seen
figures of him of which it was very difficult to determine whether
they were in the highest degree sublime or extremely ridiculous. Such
faults may be said to be the ebullitions of genius; but at least he
had this merit, that he never was insipid; and whatever passion his
works may excite, they will always escape contempt.
"What I have had under consideration is the sublimest style,
particularly that of Michael Angelo, the Homer of painting. Other
kinds may admit of this naturalness, which of the lowest kind is the
chief merit; but in painting, as in poetry, the highest style has the
least of common nature."
From this passage we gather three important indications of the
supposed nature of the Great Style. That it is the work of men in a
state of enthusiasm. That it is like the writing of Homer; and that it
has as little as possible of "common nature" in it.
First, it is produced by men in a state of enthusiasm. That is, by men
who feel _strongly_ and _nobly_; for we do not call a strong feeling
of envy, jealousy, or ambition, enthusiasm. That is, therefore, by men
who feel poetically. This much we may admit, I think, with perfect
safety.
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