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 full keeping with the principle suggested —­ an object unattainable by the means ordinarily in possession of mankind, yet which, if attained, would lend a charm to the landscape-garden immeasurably surpassing that which a merely human interest could bestow.  The true poet possessed of very unusual pecuniary resources, might possibly, while retaining the necessary idea of art or interest or culture, so imbue his designs at once with extent and novelty of Beauty, as to convey the sentiment of spiritual interference.  It will be seen that, in bringing about such result, he secures all the advantages of interest or design, while relieving his work of all the harshness and technicality of Art.  In the most rugged of wildernesses —­ in the most savage of the scenes of pure Nature —­ there is apparent the art of a Creator; yet is this art apparent only to reflection; in no respect has it the obvious force of a feeling.  Now, if we imagine this sense of the Almighty Design to be harmonized in a measurable degree, if we suppose a landscape whose combined strangeness, vastness, definitiveness, and magnificence, shall inspire the idea of culture, or care, or superintendence, on the part of intelligences superior yet akin to humanity —­ then the sentiment of interest is preserved, while the Art is made to assume the air of an intermediate or secondary Nature —­ a Nature which is not God, nor an emanation of God, but which still is Nature, in the sense that it is the handiwork of the angels that hover between man and God.”

It was in devoting his gigantic wealth to the practical embodiment of a vision such as this —­ in the free exercise in the open air, which resulted from personal direction of his plans —­ in the continuous and unceasing object which these plans afford —­ in the contempt of ambition which it enabled him more to feel than to affect —­ and, lastly, it was in the companionship and sympathy of a devoted wife, that Ellison thought to find, and found, an exemption from the ordinary cares of Humanity, with a far greater amount of positive happiness than ever glowed in the rapt day-dreams of De Stael.