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 owing nartly to 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 lines ; 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 
<md symmetrical arrangement in trie ancient style. 
