C 60 y 



would have been perfectly intelligible, the 

 whole fairly ftated according to the au- 

 thor s words and obvious meaning: and 

 you yourfelf allow that ftudy to be eflential 

 to your profeffion. 



I muft here obferve, that as with regard 

 to improvements, you have wifhed to 

 confine your reader's ideas to mere garden 

 fcenes, fo with refpect to painting, you 

 have directed them towards the rudeft 

 ftyles of landscapes; in order to feparate 

 the two arts as widely as pofiible, and 

 weaken their affinity. You muft be fen- 

 fible, however, that all landfcapes are not 

 rough ; that for inftance, Adrian Vander- 

 velde, and Wovermans, are often too 

 fmooth; and I forbear mentioning hiftory, 

 or portrait painters, fuch as Carlo Dolce, 

 &c. being lefs ftriclly to the prefent ob- 

 ject. As landfcapes may be confidered 

 (independently of figures and buildings) 



as 



