Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: fion a principle of all others the most adapted to correct the chief defects of improvers. Connection is a principle always present to the painter's mind, if he deserve that name; and by the guidance of which he considers all sets of objects, whatever may be their character or boundaries, from the most extensive prospect to the most confined wood scene : neither referring every thing to the narrow limits of his canvas, nor despising what will not suit it, unless, indeed, the limits of his mind be equally narrow and contracted; for when I speak of a painter, I mean an artist, not a mechanic. Whatever minute and partial objections may be made, to the study of pictures for the purpese of improvement, (many of which I have discussed in my letter to Mr. Repton,) yet certainly the great leading principles of the one art,—as general composition—grouping the separate parts—harmony of tints—unity of character, are equally applicable to the other: I may add also, what is so very essentialid the painter, though at first sight it seems hardly within the province of the improver—breadth and effect of light and Shade. These are called the principles of painting, because that art has pointed them out more clearly, by separating what was most striking and well combined, from the less interesting and scattered objects of ge- fieral scenery: bat they are in reality the general principles oh which the effect of all visible objects must depend, and to which it must be referred. Nothing catri be more directly at war with all these principles, founded as they are in trufli and in nature, than the present system of laying out grounds. A pointer, or whoever views objects with a Jtei-ntef's eye, looks with indifferettee, if not witfc disgust, at the clamps, the belts, the m'de water", and the et... --This text refers to an alternate Paperback edition.