It seeins to be from the same principles of being true, to nature, that a gradation of scene, or what is called distance, is required, or at least is so satisfactory in landscape. The mind, after being impressed with the effect of a whole, de lights in examining its parts in succession ; the more sim ple and obvious the arrangement of these parts, therefore, the more readily does the mind acquiesce in their effect. The eye of the artist, seizing on the nearest and most re mote parts of a scene, readily marks an intermediate or middle distance ; no given extent seems necessary for this purpose : 3. Having been pleased with the impression of this land scape, and having satisfied ourselves that its component parts are individually natural, let us, in the next place, ob serve their disposition, or how in this respect they concur in forming a whole. 1. As toforms, we find that their dis position is in groups or masses. The largest group, for example, is placed towards one side of the picture in the foreground, another towards the opposite side of the mid dle distance, including the building and adjoining lake ; and the remote, or third distance, consists of a low line of wood, with projecting groups or masses. 2. As to colours, we find only different shades of yellow and green on the trees and ground. 3. As to the light, we find one large and principal light near the middle of the view, diverging into shade as it approaches the sides; the clearest part is the water, arid the next clearest the building, and the third light spreads over a broad space of ground, near the water. The groups in the foreground are all in a deep shadow. One of these near the water, partakes of the principal light, and those in the third distance are distinguished by a sort of neutralization of light, colour, and shade. Such is the dis position of the groups or parts, in order, in a complex view of the whole, to fix the eye, and prevent it from being dis: tracted by.seattered lights, confusion of forms, and inhar monious colours.
4. We shall next remark the connection which subsists between these different groups. 1. They are connected in each distance by a real nearness of situation ; and, 2. In the view as a whole, from the one group coming in part before the other, so as to produce connection by apparent proximity. Suppose the reverse to be the case, and that the groups were unconnected either by real or apparent distance of situation, the consequence would be, that each group being surrounded by light, would become a distinct object. The eve would have no resting place, and would compose a whole.
5. What comes next to be examined, is the relation winch •uhsists between the parts composing earn indi viduel group. I. In regard to the form of the of each group, as they are alt groups of tne same sole of tree, we find one cicinentary form prevalent, bur tide, and in combination, by their contrasted disposi don, to such a degree, that each group da 1•5 in loam from the others, without at the same time being of opposite forms.
2 In regard to colour, the same kind of colour prevails in each and in all of tit groups, but is varied in degree by the same contrasted disposition. In some parts a yellowish green prevails, in others a greenish yellow, in others a rus set or red green, and occasionally a bright green, as on that part of the turf where the light strikes with the greatest force.
3. In regard to light and shade, those parts of the wimps which rise above the horizon, and arc backed by the sky, arc dark, and generally darker than such as are hacked by the ground, or by other adjoining. groups - The prominent parts of each group, are lighter than the r•urieg parts or recesses among the spray and leaves. These prominent and retiring parts, in the near groups, are very numerous ; in the distance they arc lost in the general aerial shade of the group. It may he observed as a general principle, that trees, from their rough surface, and consequent imperfect reflection of light, are always comparatively darker than water, buildings, or ground. In creating real landscape, they serve in some measure as shades, as the other mate rials mentioned serve as lights.
We have said nothing of the sky, the cows, and sheep. Suppose, then, in order to complete this sketch, that we represent the sky as merely grey and cloudy, and the cattle and sheep grouped in the middle distance, what will he the expression of the view ? We think it would express very little to general observers ; but there being nothing gla ringly offensive in the arrangement, it would be expressive of some beauty to him who had bestowed sonic attention to the subject of landscapes ; for though it exhibits but little harmony of forms and colours, light or shade, it still pos sesses enough of these ingredients to render it worth look ing at as a picturesque view.
It remains to account for the general or natural expres sion of melancholy and grandeur. For this purpose let the building be the ruins of an ancient castle, whose lofty quad rangular form may he readily imagined from the walls we mentioned as composing the ruined building.
The character of grandeur, then, is not in this instance communicated to the picture by the picturesque effect of the walls, which have no variety of form, light, or shade, in themselves, but by the mental associations to which they give rise in a cultivated mind.
It will not be supposed from this, that we mean to re commend the introduction of artificial ruins in improved scenes, we have merely made choice of this expression, as very obviously pointing out the distinction between pictu resque and poetic or general beauty. We shall add a few other examples.
I. Imagine the cattle and sheep removed, the surface of the ground covered by smoothly mown turf, and the luxu riant branches of sonic of the fore ground trees nearly re clining on the ground. The first expresion would be that of beautiful, or elegant picturesque ; the next that of still and consecration to manr—stillness, as being without animals, or moving objects ; and consecration to man, from the mown surface, greatly heightened by the circumstance of the branches or trees reclining on the gronifel, which never can happen where sheep or cattle are admitted, and which forms the lending visible distinction between a group of trees in a park and a group on a mown lawn. It is not from the smoothness of the turf, or any particular mixture of light and shade in the reclining branches, that this ex pression is produced, but from reflecting on the cause of this appearance.