BEAUTIES AND PRINCIPLES OF THE ART. 
55 
countenances we see only that calm and pure existence ot 
which perfect beauty is the outward type ; on the other hand, 
Murillo’s beggar boys are only picturesque. What we ad- 
mire in them (beyond admirable execution) is not their rags 
or their mean apparel, but a certain irregular struggling 
of a better feeling within, against this outward poverty of 
nature and condition. 
Architecture borrows, partly perhaps by association, the 
same expression. We find the Beautiful in the most sym- 
metrical edifices, built in the finest proportions, and of the 
purest materials. It is, on the other hand, in some irregu- 
lar castle formed for defence, some rude mill nearly as wild as 
the glen where it is placed, some thatched cottage, weather 
stained and moss covered, that we find the Picturesque. 
The Temple of Jupiter Olympus in all its perfect proportions 
was prized by the Greeks as a model of beauty ; we, who 
see only a few columns and broken architraves standing 
with all their exquisite mouldings obliterated by the vio 
lence of time and the elements, find them Picturesque. 
To return to a more practical view of the subject, 
we may remark, that though we consider the Beautiful and 
the Picturesque quite distinct, yet it by no means follows 
that they may not be combined in the same landscape. 
This is often seen in nature ; and indeed there are few 
landscapes of large extent where they are not thus harmo- 
niously combined. 
But it must be remembered, that while Landscape Gar- 
dening is an imitation of nature, yet it is rarely attempted 
on so large a scale as to be capable of the same extended 
harmony and variety of expression ; and also, that in Land- 
scape Gardening as in the other fine arts, we shall be more 
successful by directing our efforts towards the production 
