56 LANDSCAPE GAEDENINCf. 



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 art. 



Again and again has it been said, that Landscape Gar- 

 dening and Painting are allied. In no one point does it ap- 

 pear to us that they are so, more than in this — that in pro- 

 portion to the limited nature of the subject should simpli- 

 city and unity of expression be remembered. In some of 

 the finest smaller compositions of Raphael, or some of the 

 Landscapes of Claude, so fully is this borne in mind, that 

 every object, however small, seems to be instinct with the 

 same expression ; while in many of the great historical 

 pictures, unity and harmony are wrought out of the most 

 complex variety of expression. 



We must not be supposed to find in nature only the 

 Beautiful and the Picturesque. Grandeur and Sublimity 

 are also expressions strongly marked in many of the noblest 

 portions of natural landscape. But, except in very rare 

 instances, they are wholly beyond the powers of the land- 

 scape gardener, at least in the comparatively limited scale 



