PART II. Of PAINTING. 55 



distances, he will probably propose — 1. A bold foreground con- 

 taining rocks, a large dark group of trees, and some cattle. — 

 2. A rich middle distance of rocks, buildings, hills, and woods, 

 gliding into (3) the ocean, as the background. 



2. Disposition. — We have now the three distances distinctly 

 marked out, and the materials which are to compose each 

 rudely thrown in. Disposition combines, arranges, and groupes 

 these parts so as to produce a harmonious whole. The great 

 art of grouping lies, first, in contrasting the same parts of ob- 

 jects brought together in one group; and secondly, in con- 

 trasting the groupes with each other. Without grouping, every 

 thing appears scattered and unconnected : instead of unity of 

 expression, or a whole being produced, which is the ultimate 

 end of painting, the result is incongruity, which becomes dis- 

 gusting in proportion to the number and diversity of objects 

 jumbled together, 



3. Drawing and Perspective. — These branches of the 

 art are so generally studied by all who have the least preten- 

 sions to composition, that it is only necessary to observe, that 

 a thorough knowledge of the last is of great importance in lay- 

 ing out grounds, no less than in architecture, as will appear in 

 the sequel. 



