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as in pifturefque compofition) to be more 

 attentive to the finifhing of parts, than to 

 the production of a whole. Whereas the 

 mailer's great care fhould be firft to contrive 

 a whole-, and then to adapt the parts, as 

 artificially as he can. I {peak of imaginary 

 landicape : when he paints a particular view, 

 his management muft be juft the reverfe. 

 He has the parts given him ; and he muft 

 form them into a whole, as he can : and this 

 is often difficult. 



Nothing however tends fo much to pro- 

 duce a whole, as a proper diftribution of 

 light, and lhade ; which we beft obtain, 

 when we prefent a landfcape under one of 

 thefe grand effects of nature. A common 



fun-mine furnifhes lights not maff'es. It 



may throw a beautiful illumination on par- 

 ticular objetfs -, but the grand eff'ecJs of nature 

 furnilh the only opportunities of forming the 

 majfes of each. 



What gives the moft grandeur to thefe 

 effects is a predominancy of fiade ; which has 

 always more dignified ideas annexed to it, 

 than a predominancy of light. And yet how 

 little it this obferved ? In the generality of 

 pictures, and prints, you fee the balance on 



s 3 the 



