296 Illujlrat'ion of the Principles of Composition 



fink into a torpor, from which it will be impoffible to roufe 



himfclf. 



When this the watchful wicked wizard faw, 



With (udden Spring he leaped on them ftraight j 



And foon as touch'd by hi^ unhallow'd paw, 



They found themfelves within tiie curled gate, 



Full hard to be repafs'd, like that of Fate. Thomson*. 



The figures in the buftling fcenes of Vernct are highly- 

 appropriate, and will be well worth confulting; and thofe in 

 the landfcapes of N. Poufiin are excellent examples of the 

 higher ftyle. Gainfborough appears to be the only inftance 

 of the true paftoral that this country has produced, and is- 

 well worthy our attention for the figures. 



Materials. 



In treating of compofition as it relates to works of fancy, 

 it will be found to involve an inquiry after proper object?, 

 and putting them together fo as to form a picture. 



Bv proper objects is meant the moft perfect of their kind, 

 accompanied with an application the moft judicious. And 

 here begins one of our greateft difficulties, the discovering 

 what is proper, as it embraces an extent! ve field of action ; 

 whoever has acquired a knowledge of what is right, is in a 

 fair way to do what is right. The foundation of all tafte is 

 general inquiry, or an inquiry after the fpecies; for, though 

 all trees are green, and thole of the fame genus refemble 

 each other, and though rocks and mountains bear a particular 

 form, yet fome are confeficdly fuperior, and fiiould be care- 

 fully felected ; for fainting is not the art of imitating Nature 

 merely, but requires the aid of reafon in choofing the moft 

 perfect of her works, and rejecting her deformities. 



He that brings fnlfome objects to my view 

 (As many old have done, and man; 

 With naufeous images mv fancy li 

 Am . 



Roscommon. 



This principle of general mature equally extends to colour 

 :and every other part of the art, a knowledge of which can 



only 



