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the bare outline would prove }iow much 

 the eye may be pleased, and what skill may 

 be shewn in the playful variety and intri- 

 cacy of buildings ana 1 their appendages, 

 where grace, elegance, and grandeur, are un- 

 thought of. But then, when it is considered, 

 that this play and variety of outline, how- 

 ever pleasing, are not so much to, be valued 

 on their own account, as from being pro- 

 ductive of what these painters most excelled 

 in, variety and effect of light and shadow ; 

 that to these must be added their other 

 great excellence, the management of co- 

 lours ; and that this infinite diversity of 

 forms, colours, lights and shadows, m«st be 

 so arranged, as to produce one whole in 

 composition, and effect—it will shew, that 

 it is not from mere imitation, but from great 

 judgment in selecting and combining, as 

 well as in executing, that our pleasure 

 arises. The same principles of ligi*t and 

 shadow, the same attention to the effects of 

 variety and intricacy, which are so strongly 

 displayed in the pictures of Ostade, may be 

 traced even in those of Claude Lorraine ; 



