Sir Joshua Reynolds compares Nicolas Poussin 's 'careful, pure and correct style' of painting with the 'florid, careless, loose, and inaccurate style' of Rubens (Discourse V, Reynolds, Discourses, p.86). This echoes Reynolds's celebration of Claude's art as superior to the Dutch school in Discourse IV, delivered a year earlier. However, he also notes that both Poussin and Rubens preserve 'a perfect correspondence between all the parts of their respective manners: insomuch that it may be doubted whether any alteration of what is considered as defective in either, would not destroy the effect of the whole' ( Reynolds, Discourses, p.87). Reynolds's celebration of Poussin's classicism contrasts with Ruskin's view of Poussin but the eighteenth-century critic did not have a wholly positive view of the French painter of the Italian campangna. Reynolds's criticism of Poussin focuses on the painter's tendency to a certain pedantry.