50 



stance, in smooth level banks, on a small, 

 or in open downs, on a large scale. An- 

 other essential quality of beauty is gradual 

 variation; that is (to make use of Mr. 

 Burke's expression) where the lines do 

 not vary in a sudden and broken manner, 

 and where there is no sudden protube- 

 rance: it requires but little reflection to 

 perceive, that the exclusion of all but 

 flowing lines cannot promote variety; and 

 that sudden protuberances, and lines that 

 cross each other in a sudden and broken 

 manner, are among the most fruitful causes 

 of intricacy. 



I am therefore persuaded, that the two 

 opposite qualities of roughness*, and of 

 .sudden variation, joined to that of irregu- 



* I have followed Mr. Gilpin's example in using rough- 

 ness as a general term; he observes, however, that, "pro- 

 perly speaking, roughness relates only to the surface of 

 bodies; and that when we speak of their delineation we 

 use the word ruggedness." In making roughness, in this 

 general sense, a very principal distinction between the 

 beautiful and the picturesque, I believe I am supported by 

 the general opinion of all who have considered the subject, 

 as well as by Mr. Gilpin's authority. 



