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fore observed, that the two characters are 

 rarely unmixed in nature, and should not be 

 unmixed in art. In the wooded river, I have 

 supposed roughness and abruptness to be 

 so blended with the ingredients of beauty, 

 and rudeness to be so disguised, as to pro- 

 duce altogether those insensible transitions, 

 in which, according to my ideas, consists 

 the justest, and most comprehensive princi- 

 ple of the beautiful in landscape. The whole, 

 then, assumes the soft and mild character 

 of beauty. But should any of these rough, 

 abrupt parts be more strongly marked ; 

 should the rocks and the broken ground 

 distinctly appear, and their lines be such as 

 a painter would express by firm, decided, 

 forcible touches of his pencil — then the 

 picturesque would begin to prevail : and in 

 proportion as that distinct and marked 

 roughness and abruptness increased, so far 

 the character of the beautiful would de- 

 crease. If, again, this distinctness and rude- 

 ness were carried beyond a certain point, 

 the scene would probably become neither 

 beautiful nor picturesque, but merely scat- 



