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cesses. But in this model of the sublime 

 in landscape, we see none of those sin- 

 gularly curved and twisted stems and 

 branches, as in the old trees of Bloemart, 

 of Ruysdal, and others of the Dutch and 

 Flemish schools ; nor their playful variety 

 of bushes, scattered thickets, and catching 

 lights ; not even the more noble and ani- 

 mated wildness of Salvator s stems and 

 branches ; but the whole character of the 

 picture, seems to be an exact medium be- 

 tween the savage grandeur of that sublime, 

 though eccentric genius., and the sedate so- 

 lemn dignity, which usually characterizes 

 the landscapes ofPoussin. 



The same kind of difference subsists be- 

 tween the intricacy of the pinnacles and 

 fret work of Gothic architecture, and that 

 more broad and massive kind of the towers 

 and gatewa3 r s of ancient castles. Mr. Burke 

 observes, that the sublime in building re- 

 quires solidity, and even massiness ; and 

 in my idea, no single cause acts so power- 

 fully, and can so little be dispensed with as 

 massiness : but as massiness is so nearly 



