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larity, are the most efficient causes of the 

 picturesque. 



This, I think, will appear very clearly, 

 if we take a view of those objects, both 

 natural and artificial, that are allowed to 

 be picturesque, and compare them with 

 those which are as generally allowed to be 

 beautiful. 



A temple or palace of Grecian architec- 

 ture in its perfect entire state, and with its 

 surface and colour smooth and even, either 

 in painting or reality is beautiful; in ruin 

 it is picturesque. Observe the process by 

 which time, the great author of such 

 changes, converts a beautiful object into 

 a picturesque one. First, by means of 

 weather stains, partial incrustations, mos- 

 ses, &c. it at the same time takes off from 

 the uniformity of the surface, and of the 

 colour; that is, gives a degree of rough- 

 ness, and variety of tint. Next, the va- 

 rious accidents of weather loosen the stones 

 themselves; they tumble in irregular mas- 

 ses, upon what was perhaps smooth turf or 

 pavement, or nicely trimmed walks and 



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