C 34 3 



the ftyle of his compofitions, fometimes 

 approaching to formality, but from that 

 very circumftance deriving a folemn dig- 

 nity, — are both of them (and many other 

 examples might be given) as diftincl from 

 the wildnefs of mere foreft fcenery, as 

 they are from the tamenefs of Mr. Brown's 

 performances. Many painters, it is true, 

 did principally ftudy the wild and unpo- 

 lifhed parts of nature; and from this cir- 

 cumftance, and from my having mentioned 

 in my Eflay the effects of neglect and ac- 

 cident, together with the ufe which all 

 painters had made, and improvers might 

 make of thofe effects, you have formed a 

 Jyftem for me ; and have called it " the new 

 " fyft em °f improving by negletl and acci- 

 " dent." You will, perhaps, be furprifed if 

 I mould fh ew, in the courfe of this Letter, 

 that you have been trying to ridicule (and 

 very undefervedly) your own pra6tice, 

 while you thought you were laughing at 



mine, 



