BEAUTIES AND PRINCIPLES OF THE ART. 77 



let. lion of our natures by which most of us sympathize 

 more with that in which the struggle between spirit and 

 matter is most apparent, than with that in which the 

 union is harmonious and complete ; and partly because 

 from the comparative rarity of highly picturesque land- 

 scape, it affects us more forcibly when brought into 

 contrast with our daily life. Artists, we imagine, find 

 somewhat of the same pleasure in studying wild land- 

 scape, where the very rocks and trees seem to struggle 

 with the elements for foothold, that they do in contem- 

 plating the phases of the passions and instincts of 

 human and animal life. The manifestation of power is 

 to many minds far more captivating than that of beauty. 



All who enjoy the charms of Landscape Gardening, 

 may perhaps be divided into three classes : those who have 

 arrived only at certain primitive ideas of beauty which 

 are found in regular forms and straight lines ; those who 

 in the Beautiful seek for the highest and most perfect 

 development of the idea in the material form ; 

 and those who in the Picturesque enjoy most a certain 

 wild and incomplete harmony between the idea and the 

 forms in which it is expressed. 



As the two latter classes embrace the whole range 

 of modern Landscape Gardening, we shall keep distinctly 

 in view their two governing principles — the Beautiful and 

 the Picturesque, in treating of the practice of the art. 



There are always circumstances which must exert a 

 controlling influence over amateurs, in this country, in 

 choosing between the two. These are, fixed locality, ex- 

 uense, individual preference in the style of building, and 

 many others which readily occur to all. The great variety 

 of attractive sites in the older parts of the country, afford an 



