inf(> o\^vYXO(\\ tVitit the' two cliaractcis arc 

 ralriy mnnixOc'Tih nature, aiid should not lie. 

 nrtmi'xOcVihai't. fit tH'c WoodtnVnver, I luive 

 sujyfvbs^d' MuyiiU'5^ iiiid abii'iptncss to* lie 

 so" IMoiidt^dSntlV i\\0: iugredibuts of beauty, 

 aiirt n\dertr«»^ to life ^6' disguised, as to pro- 

 dii'ed' aitbgetlldl' tllose'iiiseiisiblctransilVon^, ^ 

 in AVhibSi according to' my ideas, consists 

 the justest, and most comprehensivc'prVrici- 

 pleot'thc beautiful in landscape. The whole, 

 then, assumes the soft and mild character 

 of beauty. But should any of these rough, 

 abrupt parts be more strongly marked ; 

 should the rocks and the broken ground 

 distinctly appear, and their lines be such as 

 a painter would express by firm, decided, 

 forcible touches of his pencil — then the 

 picturesque woidd begin to prevail : and in 

 j)roportion as that distinct and marked 

 roughness and abiiiptness increased, so far 

 the character of the beautiful would de- 

 crease. It, again, this distinctness and mde- 

 ness were carried beyond a certain point, 

 the scene would probably become neither 

 beautiful nor picturesque, but merely scat- 



