the accuracy of which I have no doubt may be safely relied on. The third volume remains nearly as it was, with scarcely any alteration: there is, however, one addition to the Dialogue, of a few last words, by way of summing up the points of the controversy, and likewise an appendix, which, like the note just mentioned, was occasioned by some strictures of Mr. Knight's, and almost equals it in length. I am still very largely in his debt, on Mr. Burke's, as well as on my own account; and am ashamed of being so long in arrears. However slow, I hope at last to leave nothing unpaid; but as I have undertaken the defence of such a man as Mr. Burke, I feel anxious that it should be as little unworthy of him, as it is in my power to make it. CONTENTS. THE reasons why an improver should study pictures, as well as nature. The artist's design in real scenery, must change with the growth Distinction between the painter and the improver Between looking at pictures, merely with a reference to other The general principles of both arts the same The manner in which a picture of Claude, would probably be The Colonna Claude, Note .... Page Causes of the neglect of the picturesque in modern improvement. 21 Intricacy and variety, characteristics of the picturesque: mono- A lane in it's natural and picturesque state. Near the house, picturesque beauty must often be sacrificed to ibid. .... General meaning of the word picturesque... It has not an exclusive reference to painting. .... The beautiful and the sublime, have been pointed out and illus- Apology for making use of the word picturesqueness.. The picturesque, as distinct a character, as either the sublime or To create the sublime above our contracted powers;—The art of improving therefore depends on the beautiful and the pic- Beauty alone has hitherto been aimed at But they are seldom unmixed; and insipidity has arisen from try- Effects of smoothness, and of roughness, in producing the beau- tiful and the picturesque, by means of repose and irritation.- 115 Ditto of Claude's-his landscapes compared with those of Rubens-Illustration from the different characters of smiles, The grandest style of painting, that of the Roman and Floren- 198 The Venetian style, the ornamental, or picturesque Correggio's style, as described by Sir Joshua Reynolds, might Each style of painting, corresponds with the characteristic marks of the grand, the beautiful, and the picturesque in real objects 145 Breadth alone insufficient; but preferable to detail without |