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ing at the most trifling change of situa- 

 tion, either in the approach, the walks, 

 or the drives about each place. 



Secondly^ The quantity of view, or 

 field of vision in nature, is much greater 

 than any picture M^ill admit. 



Thirdly^ The view from an eminence 

 down a steep hill is not to be represented 

 in painting, although it is often one of 

 the most pleasing circumstances of na- 

 tural landscape. 



Fourthly, The light which the painter 

 may bring from any point of the compass 

 must, in real scener}^, depend on the time 

 of day. It must also be remembered that 

 the light of a picture can only be made 

 strong by contrast of shade; while in 

 nature every object may be strongly il- 

 lumined, without destroying the compo- 

 sition, or disturbing the keeping. And 



Lastly, The foreground, which, by 

 framing the view, is absolutely necessary 

 to the picture, is often totally deficient, 

 or seldom such as a painter chooses to 

 represent; since the neat gravel-walk, or 

 close mown lawn, would ill supply the 



