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that assemblage of the imagery of different seasons, which is exhibited through the whole summer among the Alps,-winter in the distance,—and warmth, leafy woods, verdure and fertility at hand, and widely diffused.

Striking, then, from among the permanent materials of the landscape, that stage of vegetation which is occupied by pine-forests, and, above that, the perennial snows, we have mountains, the highest of which little exceed 3000 feet, while some of the Alps do not fall short of 14,000 or 15,000, and 8000 or 10,000 is not an uncommon elevation. Our tracts of wood and water are almost as diminutive in comparison; therefore, as far as sublimity is dependent upon absolute bulk and height, and atmospherical influences in connection with these, it is obvious, that there can be no rivalship. But a short residence among the British Mountains will furnish abundant proof, that, after a certain point of elevation, viz. that which allows of compact and fleecy clouds settling upon, or sweeping over, the summits, the sense of sublimity depends more upon form and relation of objects to each other than upon their actual magnitude ; and that an elevation of 3000 feet is sufficient to call forth in a most impressive degree the creative, and magnifying, and softening powers of the atmosphere. Hence, on the score even of sublimity, the superiority of the Alps is by no means so great as might hastily be inferred; and, as to the beauty of the lower regions of the Swiss Mountains, it is noticeable-that, as they are all regularly mown, their surface has nothing of that mellow tone and variety of hues by which mountain turf, that is never touched by the scythe, is distinguished. On the smooth and steep slopes of the Swiss hills, these plots of verdure do indeed agreeably unite their colour with that of the deciduous trees, or make a lively contrast with the dark green pine-groves that define them, and among which they run in endless variety of shapes —but this is most pleasing at first sight; the permanent gratification of the eye requires finer gradations of tone,

and a more delicate blending of hues into each other. Besides, it is only in spring and late autumn that cattle animate by their presence the Swiss lawns; and, though the pastures of the higher regions where they feed during the summer are left in their natural state of flowery herbage, those pastures are so remote, that their texture and colour are of no consequence in the composition of any picture in which a lake of the Vales is a feature. Yet in those lofty regions, how vegetation is invigorated by the genial climate of that country! Among the luxuriant flowers there met with, groves, or forests, if I may so call them, of Monks-hood are frequently seen; the plant of deep, rich blue, and as tall as in our gardens; and this at an elevation where, in Cumberland, Icelandic moss would only be found, or the stony summits be utterly bare.

We have, then, for the colouring of Switzerland, principally a vivid green herbage, black woods, and dazzling snows, presented in masses with a grandeur to which no one can be insensible; but not often graduated by Nature into soothing harmony, and so ill suited to the pencil, that though abundance of good subjects may be there found, they are not such as can be deemed characteristic of the country; nor is this unfitness confined to colour: the forms of the mountains, though many of them in some points of view the noblest that can be conceived, are apt to run into spikes and needles, and present a jagged outline which has a mean effect, transferred to canvas. This must have been felt by the ancient masters; for, if I am not mistaken, they have not left a single landscape, the materials of which are taken from the peculiar features of the Alps; yet Titian passed his life almost in their neighbourhood; the Poussins and Claude must have been well acquainted with their aspects; and several admirable painters, as Tibaldi and Luino, were born among the Italian Alps. A few experiments have lately been made by Englishmen, but they only prove that courage, skill, and judgment, may surmount any obstacles; and it may be safely

affirmed, that they who have done best in this bold adventure, will be the least likely to repeat the attempt. But, though our scenes are better suited to painting than those of the Alps, I should be sorry to contemplate either country in reference to that art, further than as its fitness or unfitness for the pencil renders it more or less pleasing to the eye of the spectator, who has learned to observe and feel, chiefly from Nature herself.

Deeming the points in which Alpine imagery is superior to British too obvious to be insisted upon, I will observe that the deciduous woods, though in many places unapproachable by the axe, and triumphing in the pomp and prodigality of Nature, have, in general,1 neither the variety nor beauty which would exist in those of the mountains of Britain, if left to themselves. Magnificent walnut-trees grow upon the plains of Switzerland; and fine trees, of that species, are found scattered over the hill-sides; birches also grow here and there in luxuriant beauty; but neither these, nor oaks, are ever a prevailing tree, nor can even be said to be common; and the oaks, as far as I had an opportunity of observing, are greatly inferior to those of Britain. Among the interior vallies the proportion of beeches and pines is so great that other trees are scarcely noticeable; and surely such woods are at all seasons much less agreeable than that rich and harmonious distribution of oak, ash, elm, birch, and alder, that formerly clothed the sides of Snowdon and Helvellyn; and of which no mean remains still survive at the head of Ullswater. On the Italian side of the Alps, chestnut and walnut-trees grow at a considerable height on the mountains; but, even there, the foliage is not equal in beauty to the "natural product " of this climate. In fact the sunshine of the South of Europe, so envied when heard of at a distance, is in many respects injurious to rural beauty, particularly as it incites to the cultivation of spots of ground which in

1 The greatest variety of trees is found in the Valais.-W. W.

colder climates would be left in the hands of Nature, favouring at the same time the culture of plants that are more valuable on account of the fruit they produce to gratify the palate, than for affording pleasure to the eye, as materials of landscape. Take, for instance, the Promontory of Bellagio, so fortunate in its command of the three branches of the Lake of Como, yet the ridge of the Promontory itself, being for the most part covered with vines interspersed with olive trees, accords but ill with the vastness of the green unappropriated mountains, and derogates not a little from the sublimity of those finely contrasted pictures to which it is a fore-ground. The vine, when cultivated upon a large scale, notwithstanding all that may be said of it in poetry,1 makes but a dull formal appearance in landscape; and the olivetree (though one is loth to say so) is not more grateful to the eye than our common willow, which it much resembles; but the hoariness of hue, common to both, has in the aquatic plant an appropriate delicacy, harmonising with the situation in which it most delights. The same may no doubt be said of the olive among the dry rocks of Attica, but I am speaking of it as found in gardens and vineyards in the North of Italy. At Bellagio, what Englishman can resist the temptation of substituting, in his fancy, for these formal treasures of cultivation, the natural variety of one of our parks—its pastured lawns, coverts of hawthorn, of wild-rose, and

Lucretius* has charmingly described a scene of this kind.
Inque dies magis in montem succedere sylvas
Cogebant, infraque locum concedere cultis,
Prata, lacus, rivos, segetes, vinetaque laeta
Collibus et campis ut haberent, atque olearum
Caerula distinguens inter plaga currere posset
Per tumulos, et convallis, camposque profusa :
Ut nunc esse vides vario distincta lepore
Omnia, quae pomis intersita dulcibus ornant,
Arbustisque tenent felicibus obsita circum.-W. W.

* See De Rerum Natura, v. 1370-1378.-ED.

honey-suckle, and the majesty of forest trees?—such wild graces as the banks of Derwent-water shewed in the time of the Ratcliffes; and Gowbarrow Park, Lowther, and Rydal do at this day.

As my object is to reconcile a Briton to the scenery of his own country, though not at the expense of truth, I am not afraid of asserting that in many points of view our LAKES, also, are much more interesting than those of the Alps; first, as is implied above, from being more happily proportioned to the other features of the landscape; and next, both as being infinitely more pellucid, and less subject to agitation from the winds.1 Como, (which may perhaps be styled the King of Lakes, as Lugano is certainly the Queen) is disturbed by a periodical wind blowing from the head in the morning, and towards it in the afternoon. The magnificent Lake of the four Cantons, especially its noblest division, called the Lake of Uri, is not only much agitated by winds, but in the night time is disturbed from the bottom, as I was told, and indeed as I witnessed, without any apparent commotion in the air; and when at rest, the water is not pure to the eye, but of a heavy green hue-as is that of all the other lakes, apparently according to the degree in which they are fed by melted snows. If the Lake of Geneva furnish an exception, this is probably owing to its vast extent, which allows the water to deposit its

1 It is remarkable that Como (as is probably the case with other Italian Lakes) is more troubled by storms in summer than in winter. Hence the propriety of the following verses:

Lari! margine ubique confragoso

Nulli coelicolum negas sacellum

Picto pariete saxeoque tecto;

Hinc miracula multa navitarum

Audis, nec placido refellis ore,

Sed nova usque paras, Noto vel Euro
Aestivas quatientibus cavernas,

Vel surgentis ab Adduae cubili

Caeco grandinis imbre provoluto.-LANDOR.*

W. W.

* In "Idyllia Heroica Decem," Ad Larium, 50, Il. 9-17.—ED,

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