£4 OF PAINTING. BOOK I. 



parts, harmonizes the forms, and seldom leaves the pencil with 

 satisfaction till it has completed a whole. But this idea is 

 more strikingly applicable in landscape painting ; because on 

 paper the forms and shadows are completed at once ; but in 

 the reality the first operation in producing these is merely 

 planting a seed, or a young tree scarcely visible. Thus, sup- 

 pose in grounds an upright rock of a formal even surface, and 

 naked above ; that is, presenting to the eye one mass of light 

 unbroken by shade. In what way would a person, who had 

 never studied drawing, or the principles of painting, attempt 

 to improve that rock ? The truth is, he would not think of im- 

 proving it at all. But teach him the art of drawing for a few 

 weeks, without saying any thing of general principles, and then 

 place the outlines of such a rock before him in an unfinished 

 picture, and he will insensibly, as by instinct, disguise its uni- 

 formity, either by perpendicular breaks and shadows, or by 

 overhanging it with trees, bushes, or creepers. This use to be 

 derived from painting may appear fanciful to some ; but I be- 

 lieve most artists will be inclined to think it true not only in 

 the practice of painting, but also in the other arts, as sculpture. 

 It is even evidenced in some degree in cabinet-making ; where 

 very beautiful forms and combinations are frequently pro- 

 duced without much knowledge or forethought. 



