BEAUTIES AND PRINCIPLES OF THE ART. 
53 
to separate the accidental, and extraneous in nature, and to 
preserve only the spirit, or essence. This subtle essence lies, 
we believe, in the expression, more or less pervading every 
attractive portion of nature. And it is by eliciting, preser- 
ving, or heightening this expression, that we may give our 
landscape gardens a higher charm, than even all the polish 
of art can bestow. 
Now the two expressions in nature most suitable for 
imitation, lie in Beauty’s flowing, graceful outlines ; and in 
the irregular, spirited forms of the Picturesque. The 
Sublime, and the Grand, characters that abound in nature, 
scarcely come within the limits of artificial imitation — 
certainly not in the extent of most places in America. 
On the other hand, the graceful, and the picturesque, 
are characters abounding even in small portions of nature. 
In the grounds of a country residence, the force of these 
expressions may often be greatly increased. Frequently a 
group of trees, a rounded, or an abrupt knoll, situated 
prominently, will give a hint for all future improvement. 
If we choose a bit of scenery naturally flowing and 
beautiful in its outlines, we heighten that expression by the 
refinements of care and culture ; by our smoothly mown 
lawns, curved walks, rich groups of flowering shrubs and 
trees. If we fall upon a picturesque locality, we may add 
to its charm, both by the removal of every thing inharmo- 
nious or out of keeping, and by winding the walks, select- 
ing and planting the shrubs and trees, adapting the style 
of the buildings, and, in short, conducting all our improve- 
ments, with an eye to picturesque expression. 
There is no surface of ground, however bare, which has 
not, naturally, more or less tendency to one or the other of 
these expressions. And the improver who detects the true 
