C 145 D 



painting and gardening, than the impOfTi- 

 bility of painting real founds, real fmells, or 

 real motion.* 



When 



* I did not intend to have faid any thing more on the fubjed 

 of this deficiency, but it has fince been taken up, and con- 

 nected with a dodrine, which, if true, would certainly give 

 weight to the argument that has been drawn from it. This 

 doctrine is, that the chief, or rather the only way in which the 

 art of painting can be ufeful to that of gardening, is by making 

 reprefentations of the parts to be improved : and thence it is 

 inferred, that where fuch reprefentations (from whatever caufe) 

 cannot be made, the painter has no other method of explaining 

 his ideas, or giving directions, fo that, according to the words 

 of Mr. Mafon, " the inftrudor leaves his pupil in the lurch, 

 **. where affiftance is moft required}" that is, (for no other 

 deficiency is mentioned) where it is required to form a judg- 

 ment of the difpofition and effe<5t of objeds as they appear to 

 the fpedator when he is looking down a fteep hill. Jn order 

 to fhew that the dodrine juft mentioned is mine, Mr. Mafon 

 has made ufe of a very eafy, but neither a very candid, nor 

 ingenious method of perverting an author's meaning — that of 

 adding fome words of his own to part of a fentence of mine. 

 I had faid, that " the landfcapes of great painters are the only 

 models that approach to perfedion;"* he has left out the reft 

 of the fentence, which explained and limited my meaning, and 

 has added " for defigners of real fcenery to work by."4- I fhall 

 make no further comment on fuch a ftyle of criticifm, but fhall 

 proceed to fay a few more words on this deficiency in the art 

 of painting. 



The greateft oppofers of the alliance between that art, and 



* Effay on the Pitturefque, p. 8 of the firft edit. p. 9 of the fecond. 

 4. Elfayon Defign in Gardening, by Mr. G, Mafon, page 189. 



L the 



