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cesses. But in this model of the suWime 

 in landscape, we see none of those sin- 

 gularly curved and twisted stems and 

 branches, as in the old trees of Bloen^art, 

 of Ruysdal, and others of the Dutch and 

 Flemish schools ; nor their playful variety 

 of bushes, scattered thickets, and catching 

 lights ; not even the more noble and ani- 

 mated wildness of Salvators stems and 

 branches ; but the whole character of the 

 picture, seems to be an exact medium be- 

 tween the savage grandeur of that sublime, 

 though eccentric genius^ and the sedate so- 

 lemn dignity, which usually characterizes 

 the landscapes of Poussin. 



The same kind of difference subsists be- 

 tween the intricacy of the pinnacles and 

 fretwork of Gothic architecture, and that 

 more broad and massive kind of the towel's 

 and gatewaj's of ancient castles. Mr. Burke 

 observes, that the sublime in building re- 

 quires solidity, and even massiness ; and 

 in my idea, no single cause acts so power- 

 fully, and can so little be dispensed with as 

 massiness : but as massiness is so nearly 



