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monotony of mere breadth, massiveness, 

 and uniformity.* 



In the works of many of the Dutch and 

 Flemish masters, mills are among the truest 

 specimens of the picturesque, unmixed with 

 grandeur, or beauty ; and are therefore 

 perfect in their kind. But there are other 

 painters who have overshot the mark ; and 

 as I have taken one instance of the most ju- 

 dicious conduct from a French master, I 

 will mention another of an opposite kind, 

 from the same school. There is a picture 

 of a mill at Beauvais, the print from which 

 is common, by Boucher, in which he seems 

 to have collected together all the singu- 

 larly abrupt and irregular forms that he 

 had ever seen, in order to be superlatively 



# There is a passage in some Essays on Painting by 



Diderot, which very aptly illustrates this idea of the use and 



the limits of the picturesque, in the higher style of the art. 



" Mais revinons i\ l'ordonnance et l'ensemble des person- 



nages. On peut, on doit en sacrifier un peu au technique. 



Jusqu'ou f je n'en sQai rien, Mais je ne veux pas qu'il en 



coute la moindre chose a I'expression, a reflet du sujet 



Touche moi, etonne moi, dechire moi, fais moi tressaillir, 



j>leurer,fremir, m'indigner d'abord, tu recreexas mes yeux 

 apres si tu peux.*'' 



