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In every object we observe a double effect of illumination,
that of the parts, and that of the whole. In a
building the cornices, the pilasters, and other ornaments,
are set of, in the language of art, with light and
shade. Over this partial effect are spread
general masses. It is thus in mountains.
Homer, who had a genius as picturesque as Virgil, (tho he
seems to have known little of the art of painting)
was struck with two things in his views of mountains - with
those cavities and projections, which abound upon their
surfaces - and with what he calls their shadowing
forms. Of the former, he takes notice, when he speaks of
a single mountain; of the latter, when he speaks of
mountains in combination *. Now it is plain, that in
both these
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