C 96 D 



and rudenefs of painters landfcapes, is con- 

 ftantly brought as an argument againft the 

 affinity between painting, and even land- 

 scape gardening, it will be of great ufe 

 towards clearing up this difputed point, to 

 examine in what this wildnefs confifts — how 

 far it extends — what parts of fuch wild na- 

 ture, when arranged by the painter, may 

 be imitated by the gardener, even in drefled 

 fcenes, and what may not. In order to 

 do it in the faireft manner poflible, I will 

 put out of the queftion Claude Lorrain, 

 and all who ftudied highly ornamented na- 

 ture, and will take fuch painters as Mola 

 and Gafpar Pouffin. Examine the forms of 

 their trees — their groups — the general dif- 

 pofition of them — the connection — the man- 

 ner in which the diftance is introduced be- 

 tween them — and. in which they accompany 

 buildings and water. I believe you will 

 own that all this would, in many of their 



pictures, 



