accompaniment, have some degree of _beauty_ to render the epithet just.
"Nothing can be more _sublime_ than the ocean, but wholly unaccompanied
it has little of the picturesque." It should also be remembered that
objects of rough and careless contour, as the worn cart-horse, and the
tattered beggar (neither of them laying claim to an iota of _sublimity_)
please better in a painting, than the sleekest racer, and the most
finished belle of the _Magazin des Modes_.[4]

[Footnote 4: It is singular, but almost true to an axiom, that objects
capable of exciting disgust in their _reality_, confer delight in their
pictorial _representation_; the interior of some wretched hovel, a sty
and its inmates, and a boorish revel, will exemplify this. Our pleasure
in that case arises _perhaps_ not from the objects represented, but from
the _truth of the representation_. I know not that this paradox has ever
been solved, and therefore with diffidence offer, that we are rather
pleased with the _artist_ than his _subject_.]

Essay 2nd treats of travelling, as far as it regards the _picturesque_,
which is to be sought in natural, and sometimes artificial, objects;
these will constantly present themselves to the observer under all the
varieties of light and shadow, and the different combinations of colour,
form, and accompaniment, sometimes producing whole landscapes, but
more frequently only beautiful parts of scenery. The _curious_ and
_fantastic_ forms of nature are not subjects for the pencil,--and the
draughtsman will endeavour to depict _animate_ as well as inanimate
objects. The utility and amusement of travelling, are also considered
in this essay, and hints thrown out for the improvement of barren and
disagreeable country, by the observation of lights and shadows, tints
of the season, distances, &c., with a recommendation to supply, if
possible, every hiatus of nature, by the _imagination_ of all that is