effect; and that Titian thought fo, is plain 

 from the numerous prints after his compo- 

 fitions ; in many of which, as it may be 

 proved by the height of the horizontal line, 

 he has fuppofed himfelf on a confiderable 

 eminence. Where beauty is the painter's 

 object (as was the cafe with Claude) it is 

 certainly more judicious to place the hori- 

 zontal line lower, which he accordingly 

 does. 



All this feems to point out, that though 

 profpects are not in general fuch compofi- 

 tions as painters felecT, yet that both the 

 feparate parts, and the general effect of 

 each profpect — its mafles — its boundaries—- 

 its compofition as a piece of diftance, are to 

 be judged of, like any other fcene, on the 

 principles of painting. I therefore can have 

 no doubt, if two fuch painters as Claude and 

 Titian were obliged to paint two mere prof- 

 pedis, that the profpect which Claude chofe 

 for his picture, would be the moft generally 



pleafing 



