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The Artist's Repository, Or, Encyclopedia of the Fine Arts (Band 2): Perspective, Architecture — London, 1808

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https://doi.org/10.11588/diglit.18826#0176
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I££ OJ? PERSPECTIVE. [tECT. IV.

nifhes innumerable opportunities for felection, and
for choice, to whoever has (kill to choofe aright.

You mud often have noticed this :—while the fky
has been darkened with clouds, fometimes they
would feparate, and permit a broad paffage for the
fun-beams; then, gradually clofing, they have con-
tracted the illumination to a mere fpan; and the
effect of this light has been various, according to
the objects whereon it has fallen 5 whether on fields,
on meadows, on wraters, on towns, on gilded turrets,
or, on humble thatch : whether on barren wafte, or
on cultivated land; on woods, on parks, or on corn
fields. Which latter objects, be it obferved, have,
when agitated by the wind, an agreeably graceful
movement peculiar to themfelves, in the gradual
bending, and waving, of the golden grain; to which
effect the light very much contributes. Jf to the
idea of clouds, and their intervals, you add that of
a briik wind, impelling them in rapid fucceffion
one after another, you may eafily imagine its effect
on the light, and the perpetual change of illumi-
nated appearances refulting from this alternation -T
every obje£t being by turns enlightened, and dark-
ened ; now refplendent, now gloomy; prefently
emerging from obfeurity into demi-tint; or from
demi-tint becoming obfeure.

It is, neverthelefs, very certain, that thefe acci-
dents, although exceptions to general rules, by no
means fuperfede their utility: they only prove that
>jature offers an infinite variety for our amufement,

our
 
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