keeps the fibres to their full tone; and thus picturesqueness when mixed with either of the other characters, corrects the languor of beauty, or the tension of sublimity. But as the nature of every corrective, must be to take off from the peculiar effect of what it is to correct, so does the picturesque when united to either of the others. It is the coquetry of nature; it makes beauty more amusing, more varied, more playful, but also,

"Less winning soft, less amiably mild."

Again, by its variety, its intricacy, its partial concealments, it excites that active curiosity which gives play to the mind, loosening those iron bonds, with which astonishment chains up its faculties*.

Where characters, however distinct in their nature, are perpetually mixed together in such various degrees and manners, it is not always easy to draw the exact line of

*This seems to be perfectly applicable to tragicomedy, and is at once its apology and condemnation. Whatever relieves the mind from a strong impression, of course weakens that impression.

separation: I think, however, we may conclude, that where an object, or a set of objects are without smoothness or grandeur, but from their intricacy, their sudden and irregular deviations, their variety of forms, tints, and lights and shadows, are interesting to a cultivated eye, they are sim-, ply picturesque. Such, for instance, are the rough banks that often inclose a byeroad, or a hollow lane: imagine the size of these banks, and the space between them to be increased, till the lane, becomes a deep dell; the coves, large caverns; the peeping stones, hanging rocks, so that the whole may impress an idea of awe and grandeur;---the sublime will then be mixed with the picturesque, though the scale only, not the style of the scenery would be changed. On the other hand, if parts of the banks were smooth and gently sloping; or if in the middle space the turf were soft and close-bitten; or if a gentle stream passed between them, whose clear, unbroken surface reflected all their varieties---the beautiful and the picturesque, by means of that

softness and smoothness, would then be

united.

I may here observe, that as softness is become a visible quality as well as smoothness, so also, from the same kind of sympathy, it is a principle of beauty in many visible objects; but as the hardest bodies are those which receive the highest polish, and consequently the highest degree of smoothness, there must be a number of objects in which smoothness and softness are for that reason incompatible. The one however is not unfrequently mistaken for the other, and I have more than once heard pictures, which were so smoothly finished that they looked like ivory, commended for their softness.

The skin of a delicate woman, is an example of softness and smoothness united; but if by art a higher polish be given to the skin, the softness, and in that case I may add the beauty, is destroyed. Fur, moss, hair, wool, &c. are comparatively rough; but they are soft, and yield to pressure, and therefore take off from the appear

ance of hardness, and also of edginess. A stone or rock, when polished by water, is smoother, but less soft than when covered with moss; and upon this principle,

the wooded banks of a river have often a softer general effect, than the bare, shaven border of a canal. There is the same difference between the grass of a pleasureground mowed to the quick, and that of a fresh meadow; and it frequently happens, that continual mowing destroys the verdure, as well as the softness. So much does excessive attachment to one principle destroy its own ends.

Before I end this chapter, I wish to say a few words with respect to my adoption of Mr. Burke's doctrine. It has been asserted, that I have pre-supposed our ideas of the sublime and beautiful to be clearly settled*; whereas the least attention to what I have written, would have shewn the contrary. As far as my own opinion is concerned, I certainly am convinced of

* Essay on Design in Gardening, by Mr. George Mason, page 201.

the general truth and accuracy of Mr. Burke's system, for it is the foundation of my own; but I must be very ignorant of human nature, to suppose "our ideas clearly settled" on any question of that kind. I therefore have always spoken cautiously, and even doubtingly, to avoid the imputation of judging for others; I have said-if we agree with Mr. Burkeaccording to Mr. Burke, and in the next chapter to this, I have stated that Mr. Burke has done a great deal towards settling the vague and contradictory ideas, &c. These passages so very plainly shew how little I presumed to suppose our ideas were clearly settled, that no person, who had read the book with any degree of attention, could have made such a remark; and I must say, that whoever does venture to criticize what he has not considered, is much more his own enemy, than the author's.

By way of convincing his readers that Mr. Burke's ideas of the sublime are unworthy of being attended to, Mr. G. Ma