PART II. OF FAINTING, 6l 



objects as are necessary, or by the removal of such as are of- 

 fensive. Another advantage is, that by enabling us to discover 

 in what character consists, we can frequently create that ex- 

 cellence where nature appears indifferent or disagreeable. 



3. The next advantage to be derived from painting is, the 

 art of composition in real scenery. Here, though the design 

 be, as in painting, first formed in the mind, the disposition, 

 light and shade, colour, &c. are not added in succession, as 

 in that art, but are all brought forward at once ; wherefore 

 the whole knowledge of the principles of painting must be con- 

 centrated and applied in one act, and this act is composition. 

 The idea of unity of character being formed where a real 

 scene is to be created, the principles of grouping, and light 

 and shade, are of immense importance in the execution. With- 

 out a judicious mixture of light and shade, no piece of masonry 

 is worthy the name of architecture; and without attending to 

 the principle of grouping, no building will unite with the sur- 

 rounding scenery. In planting and modern gardening the 

 neglect of grouping is a fruitful source of distinctness,, forma- 

 lity, and a kind of unnaturalness evident to a painter at first 

 sight, and which effectually distinguishes made scenery from 

 that of nature,, when even no mechanical effect of art is seen. 

 This is exemplified in almost every park or pleasure ground. 



