BEAUTIES AND PRINCIPLES OF THE ART. 61 



species of landscape, not, as it deserves to be preferred, 

 because it displays the most beautiful and perfect ideas in 

 its outlines, the forms of its trees, and all that enters into 

 its composition, but chiefly because it also is marked by 

 that careful polish, and that completeness, which imply 

 the expenditure of money, which they so well know how 

 to value. 



If we declare that the Beautiful is the more perfect 

 expression in landscape, we shall be called upon to explain 

 why the Picturesque is so much more attractive to many 

 minds. This, we conceive, is owinjr oartlyto the imper- 

 fection 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 Unes ; those who 

 in the Beautiful seek for the highest and most perfect 



be found in any one portion of nature ; — a scene characterized as a work of art, 

 by the variety of the materials, as foreign trees, plants, &c., and by the polish 

 and keeping of the grounds in the natural style, as distinctly as by the uniform 

 Mid symmetrical arrangement in the ancient style. 



