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term, as well as for the distinction of the 

 character, and likewise to point out the rea- 

 sons, why roughness, sudden deviation, and 

 irregularity, are in a more peculiar manner 

 suited to the painter, than the opposite* and 

 more popular qualities of smoothness, un- 

 dulation, and symmetry ; and to shew that 

 the picturesque may justly claim a title 

 taken from the art of painting, without 

 having an exclusive reference to it. 



If it be true with respect to landscape, 

 that a scene may, and often does exist, 

 an which the qualities of the picturesque, 

 almost exclusively of those of grandeur and 

 of beauty, prevail; and that persons unac- 

 quainted with pictures, either take no in- 

 terest in such scenes, or even think them 

 ugly, while painters, and lovers of painting, 

 study and admire them: if, on the other 

 hand, a scene may equally exist, in which, 

 as far as the nature of the case will allow, 

 the qualities assigned to the beautiful are 

 alone admitted, and from which those of 

 the picturesque are no less studiously ex- 

 cluded, and that such a scene will at once 



