Among the parts of any Body, removed to a distance from the Eye, that which is the smal lest, will disappear the soonest; whence it follows, that the largest Parts will be those which hold out visible the longest; for this Reason, a Painter must never make the small Parts of Distant Objects distinct and finished; but ought rather to follow the Rules, which I have else where laid down for these Occasions. And yet how many Painters do we see, who in representing Cities or other Objects, far distant from the Eye, make the Designs of their Buildings as bold and finished, as if they were seen in the next Neighbourhood. Now this is to go, contrary both to Reason and Experience; for where is Sight so quick and penetrating, as to discern the Bounds and last Extremities of Bodies, even at a moderate Distance? Remember therefore, to touch the Contours of remote Objects very slightly; and observe further, that in Painting far distant Bodies, you never tinge them with so strong an Azure, as that it may have a contrary Effect, and make them appear near at hand: Take care, lastly, that in representing a City, seen afar off, you never make the Angles of the Buildings appear; since those Angles, being formed by the Concourse of two Lines in a Point, and a Point having no Parts, it cannot be supposed that they shou'd be visible at a Distance.