By Sir Uvedale Price
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Additional resources for An essay on the picturesque
A paintery or whoever views objects with a painter9s eye*, looks with indifference, if not with disgust, at the_clumps, the belts* the made water, and the eternal smoothness and sameness of a iinisbed place; an improver, on the other hand, considers these as the most perfect-embeHiihments, as the last finishing touches that nature can receive from art; and consequently must think the finest com-position of Claude (and I mention him as * When I speak of a painter, I do not mean merely a professor, but any man (artist or not) of a liberal mind, with a strong feeling for nature as well as art, who has been in the habit of comparing both together.
Si Venerem Cous nunquam posuisset Apelles Mersa sub Ȱquoreis ilia lateret aquis. Examine the forms of those painters who lived before the age of Raphael, or in a country where the study of the antique (operating as it did at Rome on minds highly prepared for its influence) had not yet taught them to separate what is beautiful from the general mass; we might almost conclude that beauty did not then exist \ yet those painters were capable of exact imitation, but not of selection. Examine grandeur os form in the same manner; look at the dry, meagre forms of A.
13. for what a multitude, read what such a multitude. 290. 1. 3. for well, read dwell. 291. 1. 3. far can be, read is. 舒 1. 4. for be, read can be. 360. note, 1. 5. from the bottom, for have, read hath. 36-. 1. ult. for have, read hath. f I ^ HERE is no country, I believe (if we except China) where the art of laying out grounds is so much cultivated as it now is in England. Formerly the decorations near the house were in finitely more magnificent and expensive thari they are at present; but the embellishments of what are called the grounds, and of all the extensive scenery round the place, was much less attended to; and, in general, the park, with all its timber and thickets, was left in a state Vol.