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without omame^, and with their broken 

 parts strongly marked. Two instances oc- 

 cur to me in the Liber Veritatis ; the first, 

 of a shattered castle on a rock, in one of 

 the only two sea -storms of his painting t 

 the second, of a singular sort of hovel in the 

 Temptations of St. Anthony ; and both 

 these exceptions, more strongly prove the 

 motive of his general choice, and of these 

 deviations from it, than if they had not ex- 

 isted. Another circumstance is, that he 

 rarely painted ruins in the immediate fore- 

 ground ; perfect architecture continually : 

 which seems to imply, that in his opinion 

 what was broken and abrupt, should not, in 

 thestyle of scenery which he represented, be 

 brought too near the eye, but kept at such 

 a distance, that the whole might in a great 

 "degree be blended together. Thisleadsme to 

 another consideration, namely, that as al- 

 most all the pictures of Claude, represent 

 Mornings and Evenings of the mildest kind, 

 the lights and shadows are such as take off 

 from all harshness, and give to every thing 

 #n air of softness and repose ; both of them 



