314 Gilpin's foeest scenery. 



take notice of in distant forest scenery arises 

 from worhs of art. We mean not tbe embellish- 

 ments of art, but sucli rude ivories as may almost 

 be styled tlie works of Nature — tlie productions 

 of convenience rather than of taste. "We certainly 

 draw the most picturesque objects from the grand 

 store-house of Nature, though we condescend to 

 admit artificial objects also ; but, when they are 

 admitted in this class, they must always be of the 

 rough rather than of the polished kind. 



J Such objects we often meet with in the 



Iwild scenes of the forest, — spires, towers, lodges, 

 bridges, cattle-sheds, cottages, winding pales, and 

 other things of the same kind, which have often 

 as beautiful an effect when seen at a distance, 

 as we have just observed they have when spar- 



' ingly met with in the internal parts of a forest. 



\Only, the nearer the object is, we expect its 

 form must be the more picturesque. Distance, 

 no doubt, hides defects; and many an object 

 may appear well in a remove, which, brought 



oaearer, would disgust the eye. 



