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lime conceptions, in what forms, in what 

 colours, and in what effects, grandeur in 

 landscape consisted. Can it then be 

 doubted that grandeur and beauty have 

 been pointed out and illustrated by paint- 

 ing as well as picturesqueness* ? Yet, 

 would it be a just definition of sublime or 

 of beautiful objects, to say that they were 

 such (and, let the words be taken in their 

 most liberal construction) as 'pleased from 

 some quality capable of being illustrated in 

 painting, or, that were proper subjects for 

 that art? The ancients, indeed, not only 

 referred beauty of form to painting, but 

 even beauty of colour ; and the poet who 

 could describe his mistress's complexion, 

 by comparing it to the tints of Apelles's 

 pictures, must have thought that beauty of 



* I have ventured to make use of this word, which I be- 

 lieve does not occur in any writer, from what appeared to 

 me the necessity of having some one word [to oppose to 

 beauty and sublimity, in a work where they are so often 

 compared, 



