BEAUTIES AND PEINCIPLES OF THE ART. 71 



was prized by the Greeks as a model of beauty ; we, who 

 see only a few columns and broken architraves standing 

 with all their exquisite mouldings obliterated by the vio 

 lence of time and the elements, find them Picturesque. 



To return to a more practical view of the subject, 

 we may remark, that though we consider the Beautiful and 

 the Picturesque quite distinct, yet it by no means follows 

 that they may not be combined in the same landscape. 

 This is often seen in nature ; and indeed there are few 

 landscapes of large extent where they are not thus harmo- 

 niously combined. 



But it must be remembered, that while Landscape Gar- 

 dening is an imitation of nature, yet it is rarely attempted 

 on so large a scale as to be capable of the same extended 

 harmony and variety of expression ; and also, that in Land- 

 scape Gardening as in the other fine arts, we shall be more 

 successful by directing our efforts towards the production 

 of a leading character or expression, than by endeavor- 

 ing to join and harmonize several. 



Our own views on this subject are simply these. When 

 a place is small, and only permits a single phase of natural 

 expression, always endeavor to heighten or to make that 

 single expression predominate ; it should clearly either aim 

 only at the Beautiful or the Picturesque. 



When, on the contrary, an estate of large size comes 

 within the scope of the Landscape Gardener, he is at liberty 

 to give to each separate scene its most fitting character ; 

 he will thus, if he is a skilful artist, be able to create great 

 variety both of beautiful and picturesque expression, and 

 he will also be able to give a higher proof of his power, viz. 

 by uniting all those scenes into one whole, by bringing 

 them all into harmony. An artist who can do this has 

 reached the ultimatum of his ai-t. 



