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lodged, and is likewise enhanced by every 

 pleasing association. 



Autumn, which is metaphorically applied 

 to the decline of human life, when " fallen 

 into the sere, the yellow leaf," and not 

 the spring, la primavera, gioventii del 

 anno, .is generally called the painter's sea- 

 son. And yet there is something so very 

 delightful in the real eharms of spring, 

 as well as in the associated ideas of renew- 

 ed life and vegetation, that it seems a per- 

 version of our natural feelings, when we 

 prefer to all its blooming hopes, the first 

 bodings of the approach of winter. Au- 

 tumn must therefore have many powerful 

 attractions though of a different kind, and 

 those intimately connected with the art of 

 painting: for which reason as the pictu- 

 resque, though equally founded in nature 

 with the beautiful, has been more parti- 

 cularly pointed out, illustrated, and, as it 

 were, brought to light, by that art, an in- 

 quiry into the reasons why autumn, and 

 not spring, is called the painter's season, 

 will, I imagine, give great additional in- 



