objects that the sun shines directly upon appear smaller than usual in consequence of being so clearly seen, which deceives the eye as to their real distance. As this effect, when viewed in the open space and surrounded with the glare of sunshine, is not only too powerful to be pleasing, but is also injurious to the sight, the spectator should retire to the shade of trees, where their farspreading boughs will screen him from the scorching heat, and throw a broad shadow before him, which will relieve his eye and produce a more equal balance of light and shade. I do not feel, however, that this appearance of nature is so well suited for representation as when we look to a point between the north and the south, where there is a greater degree of harmony produced in consequence of the sun's rays passing between the eye of the spectator and the view. The sky is also illumined with a warmer tint, which is diffused over the landscape.

I am, &c.

MY DEAR SIR;

THE setting sun is acknowledged by the generality of the admirers of nature to be one of the most fascinating of her appearances, and though often exceedingly gorgeous, yet it varies greatly in regard to colour and brilliancy according to the state of the atmosphere: for the sky at this time of the afternoon frequently exhibits a tender spread of yellow, inclining in a slight degree to red, as it approaches the blue; and blending with it reduces that colour to a soft and undetermined tint. The distance immediately under the sun partakes in a great measure of the colour that glows in the lower portion of the sky, and which melts gradually away on either side into a warm purplish gray, that finally terminates in a tint aproaching to blue. At times, when the air is perfectly clear,

the effect is very different; for then the blue above, which is deep and almost pure, descends nearer to the sun which is now surrounded with a golden hue, and the kindling clouds display a variety of splendid tints: those near the horizon, if massive, are generally of a purplish gray colour, and their edges illumined with a brilliant tinge of yellow.

When this effect of the afternoon sun is represented, the tone of the picture ought to be such as to convey the sensation of general warmth, and notwithstanding the source of light at this time is yellow, he should be exhibited as perfectly white ; for the means of our art are much too limited to accomplish both light and colour at the same time; and as light is without doubt the chief object to be attained, colour ought to be relinquished as being of less importance. The whole landscape opposed to, and compared with the sky, separates itself from it with great force in consequence of the principal parts of the scene, directly opposite

to the spectator being in deep shade, the light only touching upon the edges of various projecting objects, and at the same time producing a rich and transparent glow of colour when shining through trees of a slender character.

After the sun has for some time disappeared, twilight begins gradually to spread a vail of gray over the late glowing scene, which, after a long and sultry day in summer, soothes the mind and relieves the sight previously fatigued with the protracted glare of sunshine. At this time of the evening to repose in some sequestered spot, far removed from the turmoil of public life, and where stillness, with the uncertain appearance of all around, admits of full scope for the imagination to range with perfect freedom, is to the contemplative mind a source of infinite pleasure. The sky, too, with its streak of amber light, which glows in the west, is often opposed by horizontal and far extended clouds of a sombre gray, forming as it were a base for others of a more solemn hue, and of

shapes so grand and well defined as to have all the effect of distant mountains with towns and

castles upon some of their projecting parts against the sky. The moon's mild crescent, with her reflection in the stream, adds greatly to the interest of the scene.

I will now conclude this Letter with a few remarks upon moonlight, which we so seldom see represented with sufficient truth. For when trees in full foliage are introduced into the subject, they show that the season is summer; nevertheless we frequently perceive that the sky is painted exceedingly dark, and sometimes bordering upon blackness, making the moon appear as a white spot. The night, on the contrary, in the summer is never quite dark, and during fine weather it retains the appearance of modified blue for a long time; and when the moon is at the full, the general effect upon the landscape is the same as in the day time. It is the sun's light still, only greatly moderated by reflection from the moon. This is what Shaks