C 1 4 2 3 



difpofe and drill them, and direct their con- 

 tinual motion and livery action ? Were there 

 occafion, it might be fhewn, on the con- 

 trary, that in this refpecl the art of painting is 

 much fuperior. The painter does catch and 

 record momentary action ; it is the pride and 

 the difficulty of his art : Tl)e improver can 

 only prepare the fcene in general-, and leave 

 it to chance how the figures may be dif- 

 pofed. This circumftance of continued mo- 

 tion, has, in my opinion, as little to do with 

 the affinity between painting and gardening, 

 as with their refpective fuperiority. What 

 does it then prove ? what I am forry to fay 

 there are but too many proofs of already — a 

 defire of pointing out, on every occafion, 

 what might in any way be thought to de- 

 preciate that art, which you have unfortu- 

 nately chofen to confider as a rival one. 



The only example you have given of a 

 mere object of fight, incapable, at any mo- 

 ment, of being painted, is a view down a 



fteep 



