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qualities very different from those of the 

 picturesque, which demands sudden lights, 

 and deep shadows. 



It is not a little remarkable, that of the 

 two most celebrated of mere landscape 

 painters, Caspar, and Claude, the one who 

 painted wild, broken, picturesque nature, 

 should have hardly any of those buildings 

 which are allowed to be most picturesque ; 

 and that the other, whose attention to all 

 that is soft, engaging, and beautiful is al- 

 most proverbial, should comparatively have 

 but few pictures without them. As these 

 two great painters knew perfectly the effects 

 which they intended to produce, and the 

 means of producing them, it may be use- 

 ful, to inquire, whether they did not proceed 

 upon principle, in this seeming deviation 

 from it. I have remarked in a former, 

 part,* in the case of two eminent painters 

 of figures how much an exclusive attention 

 to what is strictly beautiful, will lead, to- 

 wards monotony ; it is not less true in land- 



* Essay on the Picturesque, chap. 3, near the end 



