of care and human interest."

"From what I have already observed," said Mr. 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, much depends upon the
selection of a spot with capabilities. What is said in respect to the
'detecting and bringing into practice those nice relations of size,
proportion and color,' is a mere vagueness of speech, which may mean
much, or little, or nothing, and which 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 dreams of the
man of genius. The merit suggested is, at best, negative, and appertains
to that hobbling criticism which, in letters, would elevate Addison
into apotheosis. In truth, while that merit which consists in the mere
avoiding demerit, appeals directly to the understanding, and can thus
be foreshadowed in Rule, the loftier merit, which breathes and flames
in invention or creation, can be apprehended solely in its results. Rule
applies but to the excellences of avoidance--to the virtues which deny
or refrain. Beyond these the critical art can but suggest. We may be
instructed to build an Odyssey, but it is in vain that we are told
how to conceive a 'Tempest,' an 'Inferno,' a 'Prometheus Bound,' a
'Nightingale,' such as that of Keats, or the 'Sensitive Plant' of
Shelley. But, the thing done, 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 the
beautiful or of the sublime.

"Our author's observations on the artificial style of gardening,"
continued Mr. Ellison, "are less objectionable. 'A mixture of pure art
in a garden scene, adds to it a great beauty.' This is just; and the
reference to the sense of human interest is equally so. I repeat that
the principle here expressed, is incontrovertible; but there may be
something even beyond it. There may be an object in