or THF EXTERNAL SENSES. 297

Painting, though, by combinations of light andfliade, similar to those which Nature makes ufeof in the visible objects which hie presents to oureyes, it endeavours to imitate those objects; yet itnever has been able to equal the perspective ofNature, or to give to its productions that force anddiflinctnefs of relief and projection which Naturebellows upon hers. When the young gentlemanwas juft beginning to underhand the hr on g anddihinct perspective of Nature, the faint and feebleperspective of Painting made no imprehion uponhim, and the picture appeared to him what itreally was, a plain surface bedaubed with differ-ent colors. When he became more familiar withthe perfpective of Nature, the inferiority of thatof Painting did not hinder him from discoveringits resemblance to that of Nature. In the per-fpe<tive of Nature, he had always found that thesituation and dihance of the tangible and repre-sented objects, corresponded exadlly to what thevisible and representing ones fuggehecl to him. Heexpected to find the fame thing in the similar,though inferior perspective of Painting , and wasdisappointed when he found that the visible andtangible objects had not, in this cafe, their usualcorrespondence.

“ In a year after feeing,” adds Mr. Chefelden,“ the young gentleman being carried upon Epfom-" downs, and observing a large prospect, he was" exceedingly delighted with it, and called it a“ new kind of feeing.” He had now, it is evi-" dent, come to underhand completely the