tions—arising from confirmed preconception,
from the circumambient medium, from the
nature of the visual rays; these we applied to
purposes of art—in the representation of objedts,
of shadows, natural and artificial, their acci-
dents, their degradations, their ressexions. As
objedb os investigation we seledled the dwel-
lings of mankind, obseryed their progress, their
magnitude, their application, their principles,
their component parts, their variety, their
elegance—arising from regularity, from distri-
bution, from decoration; their convenience,
their sa!ubritv; augmented by extensive pros-
pedis—combining grandeur, rusticity, variety,
motion; in aerial effedts, in objedls at hand,
afar off; whether bold, or delicate, contrasted,
or correspondent: What remains, but that,
with our original parent, we venerate the uni-
versal Author ?
These are thy glorious works, Parent of good,
Almighty, thine this universal frame,
Thus wond’rous fair; thyfelf how wond’rous then!
To us invisible, or dimly seen
In these thy lowed; works, yet these declare,
Thy goodness beyond thought, and power divine.
End of the second series of Lectures..