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.