fcape over his whole landfcape. Nature tinges 

 all her pictures in this harmonious manner. 

 It is the greyifh tint ; or it is the blue , or 

 it is the purple ; or it is one of the vivid 

 tints of illumination, red, or yellow what- 

 ever it be, it blends with all the lights and 

 Ihadows of the piece. This great principle 

 of harmony, which arifes from the reflection 

 of colour, (in fome degree, even when the 

 air is diaphanous,) muft be obferved by every 

 painter, who wifhes to procure an effect. 

 His picture muft be painted from one pallet : 

 and one key, as in mufic, muft prevail through 

 his whole compofition. As the air however 

 is the vehicle of all thefe tints, it is evident, 

 that in diftances (in which we fee through 

 a deeper medium of tinged air) they will 

 prevail moft; and of courfe, very little on 

 foregrounds. The painter muft obferve this 

 rule of nature' by bringing his tints regularly 

 forward ; and his foregrounds he muft com- 

 pofe of fuch colours (mute, or vivid) as accord 

 beft with the general hue of his landfcape. 

 Yet ftill he will be cautious how he fpreads 

 even the prevailing tint too ftrongly. Much 

 error hath arifen from this fource; and ibme 

 painters under the idea of harmonizing, have 



given 



