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To the painter alfo the moving tree affords 

 often a piece of ufeful machinery, when he 

 wifhes to exprefs the agitation of air. In this 

 light it may even be confidered as an objection 

 to trees of firmer branches, as the oak, that 

 their refiftance to every breath of air deprives 

 them at leaft, of one fource of beauty, and 

 fubjects them to be fooner gotten by heart , if 

 I may fo phrafe it, than other trees ; which 

 yielding to the preffure, are every inflant af-* 

 fuming new modifications. 



From the motion of the tree, we have alfo 

 the pleafmg circumftance of the chequered 

 jhade^ formed under it by the dancing of the 

 fun-beams among it's playing leaves. This 

 circumftance, tho not fo much calculated for 

 picturefque ufe, (as its beauty arifes chiefly 

 from it's motion) is yet very amufmg in nature \ 

 and may alfo be introduced in painting, when 

 the tree is at reft. But it is one of thofe cir- 

 cumftances, which requires a very artful pen- 

 cil. In it's very nature it oppoies the grand 

 principle of mailing light, and lhade. How- 

 ever if it be brought in properly, and not 

 fuffered to glare, it may have it's beauty. 

 But whatever beqomes of this circumftance in 



painting ; 



