iterally signifies that which is capable of, or fitted for, pictorial delineation. Picturesque beauty, says an able writer on that subject, refers to such beautiful objects as are suited to the pencil. This epithet is chiefly applied to the works of nature, though it will often apply also to works of art. Those objects are most properly denominated picturesque which are disposed by the hand of nature with a mixture of varied rudeness, simplicity, and grandeur. A plain neat garden, with little variation in its plan, and no striking grandeur in its position, displays too much of art, design, and uniformity, to be called picturesque. "The ideas of neat and smooth," says Mr Gilpin, "instead of being picturesque, in fact disqualify the object in which they reside from any pretensions to picturesque beauty." Nay, farther, we do not scruple to assert, that roughness forms the most essential point of difference between the beautiful and the picturesque; as it seems to be that particular quality which makes objects chiefly pleasing in painting. I use the general term roughness; but, properly speaking, roughness relates only to the surfaces of bodies; when we speak of their delineation, we use the word ruggedness. Both ideas, however, equally enter into the picturesque, and both are observable in the smaller as well as in the larger parts of nature; in the outline and bark of a tree, as in the rude summit and craggy sides of a mountain.