of his fortune as of utterly superfluous opulence; enriching whole troops of his relatives by division of his superabundance.
I was not surprised, however, to perceive that he had long made up his mind upon a topic which had occasioned so much of discussion to his friends. Nor was I greatly astonished at the nature of his decision. In the widest and noblest sense, he was a poet. He comprehended, moreover, the true character, the august aims, the supreme majesty and dignity of the poetic sentiment. The proper gratification of the sentiment he instinctively felt to lie in the creation of novel forms of Beauty. Some peculiarities, either in his early education, or in the nature of his intellect, had tinged with what is termed materialism the whole cast of his ethical speculations; and it was this bias, perhaps, which imperceptibly led him to perceive that the most advantageous, if not the sole legitimate field for the exercise of the poetic sentiment, was to be found in the creation of novel moods of purely physical loveliness. Thus it happened that he became neither musician nor poet; if we use this latter term in its every -- day acceptation. Or it might have been that he became neither the one nor the other, in pursuance of an idea of his which I have already mentioned -- the idea, that in the contempt of ambition lay one of the essential principles of happiness on earth. Is it not, indeed, possible that while a high order of genius is necessarily ambitious, the highest is invariably above that which is termed ambition? And may it not thus happen that many far greater than Milton, have contentedly remained 'mute and inglorious?' I believe the world has never yet seen, and that, unless through some series of accidents goading the noblest order of mind into distasteful exertion, the world will never behold, that full extent of triumphant execution, in the richer productions of Art, of which the human nature is absolutely capable.
Mr. Ellison became neither musician nor poet; although no man lived more profoundly enamored both of Music and the Muse. Under other circumstances than those which invested him, it is not impossible that he would have become a painter. The field of sculpture, although in its nature rigidly poetical, was too limited in its extent and in its consequences, to have occupied, at any time, much of his attention. And I have now mentioned all the provinces in which even the most liberal understanding of the poetic sentiment has declared this sentiment capable of expatiating. I mean the most liberal public or recognized conception of the idea involved in the phrase 'poetic sentiment.' But Mr. Ellison imagined that the richest, and altogether the most natural and most suitable province, had been blindly neglected. No definition had spoken of the Landscape-Gardener, as of the poet; yet my friend could not fail to perceive that the creation of the Landscape-Garden offered to the true muse the most magnificent of opportunities. Here was, indeed, the fairest field for the display of invention, or imagination, in the endless combining of forms of novel Beauty; the elements which should enter into combination being, at all times, and by a vast superiority, the most glorious which the earth could afford. In the multiform of the tree, and in the multicolor of the flower, he recognized the most direct and the most energetic efforts of Nature at physical loveliness. And in the direction or concentration of this effort, or, still more properly, in its adaption to the eyes which were to behold it upon earth, he perceived that he should be employing the best means -- laboring to the greatest advantage -- in the fulfilment of his destiny as Poet.
'Its adaptation to the eyes which were to behold it upon earth.' In his explanation of this phraseology, Mr. Ellison did much towards solving what has always seemed to me an enigma. I mean the fact (which none but the ignorant dispute,) that no such combinations of scenery exist in Nature as the painter of genius has in his power to produce. No such Paradises are to be found in reality as have glowed upon 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 exceed, individually, the highest skill of the artist, the arrangement of the parts will always be susceptible of improvement. In short, no position can be attained, from which an artistical eye, looking steadily, will not find matter of offence, in what is technically termed the composition of a natural 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 of portraiture, that 'Nature is to be exalted rather than imitated,' is in error. No pictorial or sculptural combinations of points of human loveliness, do more than approach the living and breathing human beauty as it gladdens our daily path. Byron, who often erred, erred not in saying,
I've seen more living beauty, ripe and real,
Than all the nonsense of their stone ideal. 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 induced 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 to the artist. He not only believes, but positively knows, that such and such apparently arbitrary arrangements of matter, or form, constitute, and alone constitute, the true Beauty. Yet his reasons 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 is he confirmed in his instinctive opinions, by the concurrence of all his compeers. 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 will suggest the identical emendation.
I repeat that in landscape arrangements, or collocations alone, is the physical Nature susceptible of 'exaltation' and that, therefore, her susceptibility of improvement at this one point, was a mystery which, hitherto I had been unable to solve. It was Mr. Ellison who first suggested the idea that what we regarded as improvement or exaltation of the natural beauty, was really such, as respected only the mortal or human point of view; that each alteration or disturbance of the primitive scenery might possibly effect a blemish in the picture, if we could suppose this picture viewed at large from some remote point in the heavens. 'It is easily understood,' says Mr. Ellison, 'that what might improve a closely scrutinized detail, might, at the same time, injure a general and more distantly -- observed effect.' He spoke upon this topic with warmth: regarding not so much its immediate or obvious importance, (which is little,) as the character of the conclusions to which it might lead, or of the collateral propositions which it might serve to corroborate or sustain. There might be a class of beings, human once, but now to humanity invisible, for whose scrutiny and for whose refined appreciation of the beautiful, more especially than for our own, had been set in order by God the great landscape-garden of the whole earth.
In the course of our discussion, my young friend took occasion to quote some passages from a writer who has been supposed to have well treated this theme.
'There are, properly,' he writes, '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 relations 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 prevalence of a beautiful 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 Mr. Ellison, 'you will understand that I reject the idea, here
