Milton have contentedly remained "mute and inglorious?" believe that the world has never seen-and that, unless through some series of accidents goading the noblest order of mind into distasteful exertion, the world will never see--that full extent of triumphant execution, in the richer domains of art, of which the human nature is absolutely capable.

Ellison became neither musician nor poet; although no man lived more profoundly enamored of music and poetry. Under other circumstances than those which invested him, it is not impossible that he would have become a painter. Sculpture, although in its nature rigorously poetical, was too limited in its extent and consequences. to have occupied, at any time, much of his attention. And I have now mentioned all the provinces in which the common understanding of the poetic sentiment has declared it capable of expatiating. But Ellison maintained that the richest, the truest and most natural, if not altogether the most extensive province, had been unaccountably neglected. No definition had spoken of the landscape-gardener as of the poet; yet it seemed to my friend that the creation of the landscape-garden offered to the proper Muse the most magnificent of opportunities. Here, indeed, was the fairest field for the display of imagination in the endless combining of forms of novel beauty; the elements to enter into combination being, by a vast superiority, the most glorious which the earth could afford. In the multiform and multicolor of the flower and the trees, he recognised the most direct and energetic efforts of Nature at physical loveliness. And in the direction or concen tration of this effort--or, more properly, in its adaptation to the eyes which were to behold it on earth-he perceived that he should be employing the best means--laboring to the greatest advantage--in the fulfilment, not only of his own destiny as poet, but of the august purposes for which the Deity had implanted the poetic sentiment in man.

"Its adaptation to the eyes which were to behold it on earth." In his explanation of this phraseology, Mr. Ellison did much toward solving what has always seemed to me an enigma :—I mean the fact (which none but the ignorant dispute) that no such combination of scenery exists in nature as the painter of genius may produce. No such paradises are to be found in reality as have glowed ou

the canvass of Claude. In the most enchanting of natural landscapes, there will always be found a defect or an excess-many excesses and defects. While the component parts may defy, individually, the highest skill of the artist, the arrangement of these parts will always be susceptible of improvement. In short, no position can be attained on the wide surface of the natural earth, from which an artistical eye, looking steadily, will not find matter of offence in what is termed the "composition" of the landscape. And yet how unintelligible is this! In all other matters we are justly instructed to regard nature as supreme. With her details we shrink from competition. Who shall presume to imitate the colors of the tulip, or to improve the proportions of the lily of the valley? The criticism which says, of sculpture or portraiture, that here nature is to be exalted or idealized rather than imitated, is in error. No pictorial or sculptural combinations of points of human loveliness do more than approach the living and breathing beauty. In landscape alone is the principle of the critic true; and, having felt its truth here, it is but the headlong spirit of generalization which has led him to pronounce it true throughout all the domains of art. Having, I say, felt its truth here; for the feeling is no affectation or chimera. The mathematics afford no more absolute demonstrations than the sentiment of his art yields the artist. He not only believes, but positively knows, that such and such apparently arbitrary arrangements of matter constitute and alone constitute the true beauty. His reasons, however, have not yet been matured into expression. It remains for a more profound analysis than the world has yet seen, fully to investigate and express them. Nevertheless he is confirmed in his instinctive opinions by the voice of all his brethren. Let a "composition" be defective; let an emendation be wrought in its mere arrangement of form; let this emendation be submitted to every artist in the world; by each will its necessity be admitted. And even far more than this: in remedy of the defective composition, each insulated member of the fraternity would have suggested the identical emendation.

I repeat that in landscape arrangements alone is the physical nature susceptible of exaltation, and that, therefore, her susceptibility of improvement at this one point, was a mystery I had been unable to solve. My own thoughts on the subject had rested in

the idea that the primitive intention of nature would have so arranged the earth's surface as to have fulfilled at all points man's sense of perfection in the beautiful, the sublime, or the picturesque; but that this primitive intention had been frustrated by the known geological disturbances-disturbances of form and color-grouping, in the correction or allaying of which lies the soul of art. The force of this idea was much weakened, however, by the necessity which it involved of considering the disturbances abnormal and unadapted to any purpose. It was Ellison who suggested that they were prognostic of death. He thus explained:-Admit the earthly immortality of man to have been the first intention. We have then the primitive arrangement of the earth's surface adapted to his blissful estate, as not existent but designed. The disturbances were the preparations for his subsequently conceived death. ful condition.

"Now," said my friend, "what we regard as exaltation of the landscape may be really such, as respects only the moral or human point of view. Each alternation of the natural scenery may possibly effect a blemish in the picture, if we can suppose this picture viewed at large-in mass-from some point distant from the earth's surface, although not beyond the limits of its atmosphere. It is easily understood that what might improve a closely scrutinized detail, may at the same time injure a general or more distantly observed effect. There may be a class of beings, human once, but now invisible to humanity, to whom, from afar, our disorder may seem order—our unpicturesqueness picturesque ; in a word, the earth-angels, for whose scrutiny more especially than our own, and for whose death-refined appreciation of the beautiful, may have been set in array by God the wide landscape-gardens of the hemispheres."

In the course of discussion, my friend quoted some passages from a writer on landscape-gardening, who has been supposed to have well treated his theme:

"There are properly but two styles of landscape-gardening, the natural and the artificial. One seeks to recall the original beauty of the country, by adapting its means to the surrounding scenery; cultivating trees in harmony with the hills or plain of the neighboring land; detecting and bringing into practice those nice rela

tions of size, proportion and color which, hid from the common observer, are revealed everywhere to the experienced student of nature. The result of the natural style of gardening, is seen rather in the absence of all defects and incongruities in the pre valence of a healthy harmony and' order-than in the creation of any special wonders or miracles. The artificial style has as many varieties as there are different tastes to gratify. It has a certain general relation to the various styles of building. There are the stately avenues and retirements of Versailles; Italian terraces; and a various mixed old English style, which bears some relation to the domestic Gothic or English Elizabethan architecture. Whatever may be said against the abuses of the artificial landscape-gardening, a mixture of pure art in a garden scene adds to it a great beauty. This is partly pleasing to the eye, by the show of order and design, and partly moral. A terrace, with an old moss-covered balustrade, calls up at once to the eye the fair forms that have passed there in other days. The slightest exhibition of art is an evidence of care and human interest."

"From what I have already observed," said Ellison, "you will understand that I reject the idea, here expressed, of recalling the original beauty of the country. The original beauty is never so great as that which may be introduced. Of course, everything depends on the selection of a spot with capabilities. What is said about detecting and bringing into practice nice relations of size, proportion, and color, is one of those mere vaguenesses of speech which serve to veil inaccuracy of thought. The phrase quoted may mean anything, or nothing, and guides in no degree. That the true result of the natural style of gardening is seen rather in the absence of all defects and incongruities than in the creation of any special wonders or miracles, is a proposition better suited to the grovelling apprehension of the herd than to the fervid dreamns of the man of genius. The negative merit suggested appertains to that hobbling criticism which, in letters, would elevate Addison into apotheosis. In truth, while that virtue which consists in the niere avoidance of vice appeals directly to the understanding, and can thus be circumscribed in rule, the loftier virtue, which flames in creation, can be apprehended in its results alone. Rule applies but to the merits of denial-to the excellencies which refrain,

Beyond these, the critical art can but suggest. We may be instructed to build a "Cato," but we are in vain told how to conceive a Parthenon or an "Inferno." The thing done, however; the wonder accomplished; and the capacity for apprehension becomes universal. The sophists of the negative school who, through inability to create, have scoffed at creation, are now found the loudest in applause. What, in its chrysalis condition of principle, affronted their demure reason, never fails, in its maturity of accomplishment, to extort admiration from their instinct of beauty.

"The author's observations on the artificial style," continued Ellison, "are less objectionable. A mixture of pure art in a garden scene adds to it a great beauty. This is just; as also is the reference to the sense of human interest. The principle expressed is incontrovertible-but there may be something beyond it. There may be an object in keeping with the principle-an object unattainable by the means ordinarily possessed by individuals, yet which, if attained, would lend a charm to the landscape-garden far surpassing that which a sense of merely human interest could bestow. A poet, having very unusual pecuniary resources, might, while retaining the necessary idea of art, or culture, or, as our author expresses it, of interest, so imbue his designs at once with extent and novelty of beauty, as to convey the sentiment of spiritual interference. It will be seen that, in bringing about such result, he secures all the advantages of interest or design, while relieving his work of the harshness or technicality of the worldly art. In the most rugged of wildernesses—in the most savage of the scenes of pure nature-there is apparent the art of a creator; yet this art is apparent to reflection only; in no respect has it the obvious force of a feeling. Now let us suppose this sense of the Almighty design to be one step depressed—to be brought into something like harmony or consistency with the sense of human art-to form an intermedium between the two-let us imagine, for example, a landscape whose combined vastness and definitiveness-whose united beauty, magnificence, and strangeness, shall convey the idea of care, or culture, or superintendence, on the part of beings su perior, yut akin to humanity-then the sentiment of interest is preserved, while the art intervolved is made to assume the air of an intermediate or secondary nature-a nature which is not God.