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the imitation of a river, is confined to one 

 or two reaches, and then it must stop. 

 Now one of the charms of a river, besides 

 the real beauty of each particular scene, 

 is the idea of continuance, of progression; 

 but that idea can hardly be excited by the 

 imitation of one or two reaches where its 

 motion is least discernible ; the only parts 

 which art can properly imitate. In lakes, 

 a great deal of the beauty arises from the 

 number of bays, inlets, and promontories ; 

 but they would counteract the idea of 

 continuance and progression, the hope and 

 expectation of which give an interest to a 

 river considered generally, though many 

 parts taken singly may be uninteresting. 

 These manifest differences between the two 

 characters, and, above all, the great dif- 

 ference between a complete and an in- 

 complete imitation, leave, I think, no 

 doubt which deserves the preference. 



The lakes which are most admired by 

 painters, are remarkable for the variety 

 ■ and intricacy of their shores, and are what 

 sin improver, where he had the opportu- 



