14 



to the painter, though at first sight it 

 seems hardly within the province of the 

 improver — breadth and effect of light and 

 shade. 



These are called the principles of paint- 

 ing, because that art has pointed them 

 out more clearly, by separating what was 

 most striking and well combined, from the 

 less interesting and scattered objects of ge- 

 neral scenery: but they are in reality the 

 general principles on which the effect of all 

 visible objects must depend, and to which 

 it must be referred. 



Nothing can be more directly, at war 

 with all these principles, founded as they 

 are in truth and in nature, than the pre- 

 sent system of laying out grounds. A 

 painter, or whoever views objects with a 

 painter s eye, looks with indifference, if not 

 with disgust, at the clumps, the belts, the 

 made water, and the eternal smoothness 

 and sameness of a finished place. An 

 improver, on the other hand, considers 

 these as the most perfect embellishments, 

 as the last finishing touches that nature 



