BEAUTIES AND PRINCIPLES OF THE ART. 55 



countenances we see only that calm and pure existence oi 

 which perfect beauty is the outward type ; on the other hand, 

 Murillo's beggar boys are only picturesque. What we ad- 

 mire in them (beyond admirable execution) is not their rags 

 or their mean apparel, but a certain irregular struggling 

 of a better feeling within, against this outward poverty of 

 nature and condition. 



Architecture borrows, partly perhaps by association, the 

 same expression. We find the Beautiful in the most sym- 

 metrical edifices, built in the finest proportions, and of the 

 purest materials. It is, on the other hand, in some irregu- 

 lar castle formed for defence, some rude mill nearly as wild as 

 the glen where it is placed, some thatched cottage, weather 

 stained and moss covered, that we find the Picturesque. 

 The Temple of Jupiter Olympus in all its perfect proportions 

 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 



