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ed the autumnal hues in all their varieties; 

 the weather- stains, and many of the 

 mosses, lichens, and incrustations on bark 

 and on wood, on stones, old walls, and 

 buildings of every kind ; the various 

 gradations in the tints of broken ground, 

 and of the decayed parts in hollow 

 trees. All these, which surely cannot 

 be classed with the fresh greens of spring, 

 with the various hues, at once so fresh 

 and vivid, of its flowers and blossoms, or 

 with those of the clean and healthy stems 

 of young plants, may serve to point out 

 in how many instances picturesque colours 

 as well as forms, arise from age and decay. 

 There is indeed a natural prejudice in our 

 minds against alt that is produced by such 

 causes; but whoever attentively observes 

 in nature the deep, rich, and mellow ef- 

 fect of such colours, will hardly be sur- 

 prised that painters should have been fond 

 of introducing them into their works, and 

 sometimes to the exclusion of those, of 

 which the beauty is universally acknow* 



