I 69 1 



is, have mofl of the requifites of a picture, 

 are mofl: to be admired. You will alfo 

 acknowledge, that where any of thofe re- 

 quifites are wanting, you wifli them to be 

 there. 



Mr. Gilpin's regret (if I underftand him 

 right) is, that there are fo few perfect 

 compofitions in nature; fo few where, 

 either in the fore-ground — the difpofition 

 of the trees — the forms of the hills — the 

 manner in which the diftance comes in 

 between the nearer objects, &c. a great 

 painter would not fee defects ; or at leaft 

 fomething that might clearly be changed 

 to advantage. But what does this regret 

 prove? Surely, that we fhould highly 

 value fuch -compofitions where they exift, 

 or where they moft nearly approach to 

 perfection, and that we mould endeavour 

 to form them as far as our powers, and 

 the ftyle of the fcenery will allow; in 

 f 3 fhort, 



