ion to
the form of a regular treatise (too often prolix and abstruse in their
investigations), but I would endeavour to bring together such useful
hints as occur to me in its progress, as _practically_ useful, without
confining myself to the regularity or connexion of a lengthened
dissertation, and seeking only to accomplish the end by explaining the
means of contending with difficulties where they are likely to occur.

OF ANGULAR COMPOSITION.

That the angular form is one of the best adapted to composition, at
least in landscape, is indisputable; the diagonal line dividing the
whole into two halves, gives the largest space for the distribution of
light and shade, as well as extent for the design.

When the whole composition is placed on one side, a single object--but
stronger in colour than the rest--placed at the opposite side, will
generally be found sufficient to balance all on the other, however
complicated or extensive in its details it may be. (_Plate 1, fig. 1._)

More _repose_ and softness is obtained by uniting the composition with
the darker shadows of the clouds, than by opposition.

On the other hand, an harmonious and agreeable whole is often achieved
by bringing the line of the clouds in an opposing angle to the line of
the landscape, the principal figures being then mostly placed at the
opposite side of the mass of the composition.

The first plan embraces an advantageous union of the parts with the
greatest breadth that can perhaps be obtained, while the other
frequently produces a dexterous effect by the opposition of colour.

A long stretching swamp, a bog, or line of sandy waste, marshes, a
broken heath, the distant sea or sand-bank, with nothing but its
straight horizon, are the sweetest morsels to good painters; for when
nature has done nothing, they must do all; and, with these difficulties
to contend with, it is something surprising to see the most broad and
beautiful productions result from so barren materials by investing them
with the all-controlling powers of chiaroscuro, by a careful inspection
of their natural colours, the forms of their lights and shadows, and
above all, the shapes and masses of the passing clouds; but variety and
simplicity should ever be their leading principle, and grandeur is sure
to be the result. Matter, seemingly incapable of form; wide extents of
pathless and unbroken sterility, of nakedness and desolation, will
become beautiful and masterly arrangements o