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But the choicest works of taste should unquestionably be in the room most occupied in hours of calm seclusion and leisure; and in order to find wall enough for the pictures, this may be assumed to be the principal drawing room. Here, therefore, may be the best specimens of painting, and even of sculpture, if the space permits: here, the chimney-piece may be by Flaxman, and the doors of the print-case by Stothard. The pictures cannot be very large, on account of their number and the size of the room. This, the objection which in a great measure excludes the grandest works from our dwelling houses, was met by the Italians, and by Nicolo Poussin, by reducing the grand to domestic conditions. If you have only small pictures, however, you cannot cover the upper part of the walls, for you are not supposed to have any work of art here which can be sacrificed.
Enlightened connoisseurs see excellence both in the Dutch and Italian schools, but they are often embarrassed in arranging them together. I am convinced, however, from instances I have seen, that this is to be accomplished satisfactorily. It is sometimes argued, that no one reads Milton and Crabbe alternately; but this is hardly a parallel case. Many go to a gallery to look at a particular picture, and see nothing else; the eye is blind when the attention is not actively exerted. So in a room, the spectator selects his favourites—his favourites at least for the time, and scarcely looks beyond them. At another moment, he will perhaps direct his undivided attention to works which he passed over on a former occasion. A certain congruity is sometimes to be accomplished, by attending to impressions rather than names and schools. Many an Italian picture would not be out of place with the Flemish and Dutch school; while Vandyck, Rembrandt, Cuyp, and others, might sometimes harmonize in many respects with the genius of the south. The arrangement of pictures comprehends some of the difficulties which the artist experiences in the production of one; for a certain balance and repose are as essential for the eye, as an harmonious impression for the mind. Much must, therefore, depend on the nature of the materials; and the (assumed) different character of your two drawing rooms may here be an advantage.
You, I know, will not ask whether the productions of the English school are admissible in this "Tribune" as well as elsewhere. Such is the variety
