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even in those of a simple kind. This most 

 essential difference may easily be accounted 

 for. Nature (for we are in the habit of 

 considering her as a real, and reflecting 

 agent) forms a beautiful scene, by combin- 

 ing objects, whatever they may be, in such 

 a manner, as that no sudden or abrupt tran- 

 sition either in form or colour, should strike 

 the eye : this I take to be a just definition 

 of beauty in landscape whether real or 

 painted, especially if we suppose a similar 

 character of light and shadow. Now, Mr. 

 Brown has attempted to produce beauty in 

 scenery, on a totally opposite plan — that of 

 attending to particulars, and neglecting ge- 

 neral composition, effect, and character. In 

 the works of nature, many of the particulars 

 are often rough and abrupt; yet each scene, 

 as a whole, impresses an idea of the most 

 pleasing variety, softness, and union. In 

 Mr. Brown's works, the particulars are 

 smooth and flowing ; the effect and charac- 

 ter of the whole hard, unvaried, and uncon- 

 nected. Variety and intricacy are, in truth, 



