290 PARES AND PLEASrEE-GEOmSTDS- 



seeming disadvantages there is also some real compen- 

 sation. If his broad terrene canvas is not so pliant 

 and submissive to his will as that of a painter — if he 

 has not so clear a field and so absolute a command 

 over liis objects — jet the very difficulty and peculiari- 

 ties of the locality are often suggestive of his most 

 admirable results. Sir Uvedale Price, in one of the 

 notes to his well known work, records the practice of 

 Zucchi, a celebrated Roman painter of castellated 

 scenery. It was the method of that artist, first to dash 

 off a large rock, the more diversified and picturesque 

 the better, and he then proceeded to build his towers 

 on this crag and on that, according as he could find 

 foundations for them ; and it was generally observed 

 that he was successful in his castles in proportion as 

 he had been happy in constructing their rocky bases. 

 Here it is easy to perceive the process by which picto- 

 rial effects were suggested to the mind of the painter. 

 More subtle, and therefore more untraceable, may be 

 the operation of suggestion, in the practice of Land- 

 scape-gardening, but not less certain is its influence. 

 We believe that many of its happiest effects have 

 flowed from this source; and on the other hand it 

 would not be difiicult to recount some lamentable in- 

 stances of failure and error arising trom neglect of this 

 principle. The practical conclusion is, that the artist 

 siiould never ventui'e to design, much less execute, till 

 lie has made himself thoroughly acquainted with the 

 natural and acquired characters of the ground. 



Again, the Landscapeq^ainter has to deal with no 

 more than one view at a time; and he can not only 

 place the spectator at the point most favorable for con- 

 templating it, but by certain modes of treatment he 



