province, one Mr. Seabright Ellison. This gentleman had amassed a princely fortune, and, having no very immediate connections, conceived the whim of suffering his wealth to accumulate for a century after his decease. Minutely and sagaciously directing the various modes of investment, he bequeathed the aggregate amount to the nearest of blood, bearing the name Ellison, who should be alive at the end of the hundred years. Many futile attempts had been made to set aside this singular bequest; their ex post facto character rendered them abortive; but the attention of a jealous government was aroused, and a decree finally obtained, forbidding all similar accumulations. This act did not prevent young Ellison, upon his twenty-first birth-day, from entering into possession, as the heir of his ancestor Seabright, of a fortune of four hundred and fifty millions of dollars. (†)
·705· When it had become definitely known that such was the enormous wealth inherited, there were, of course, many speculations as to the mode of its disposal. The gigantic magnitude and the immediately available nature of the sum, dazzled and bewildered all who thought upon the topic. The possessor of any appreciable amount of money might have been imagined to perform any one of a thousand things. With riches merely surpassing those of any citizen, it would have been easy to suppose him engaging to supreme excess in the fashionable extravagances of his time; or busying himself with political intrigues, [C,E: intrigues;] or aiming at ministerial power; or purchasing increase of nobility; or devising gorgeous architectural piles; or collecting large specimens of Virtu; or playing the munificent patron of Letters and Art; or endowing and bestowing his name upon extensive institutions of charity. But, for the inconceivable wealth in the actual possession of the young heir, these objects and all ordinary objects were felt to be inadequate. Recourse was had to figures; and figures but sufficed to confound. It was seen, that even at three per cent., the annual income of the inheritance amounted to no less than thirteen millions and five hundred thousand dollars; which was one million and one hundred and twenty-five thousand per month; or thirty-six thousand, nine hundred and eighty-six per day; or one thousand five hundred and forty-one per hour; or six and twenty dollars for every minute that flew. Thus, the usual track of supposition was thoroughly broken up. Men knew not what to imagine. There were some who even conceived that Mr. Ellison would divest himself forthwith of at least two-thirds of his fortune as of utterly superfluous opulence; enriching whole troops of his relatives by division of his superabundance.
I was not surprised, however, to perceive that he had long ·706· made up his mind upon a topic which had occasioned so much of discussion to his friends. Nor was I greatly astonished at the nature of his decision. In the widest and noblest sense, he was a poet. He comprehended, moreover, the true character, the august aims, the supreme majesty and dignity of the poetic sentiment. The proper gratification of the sentiment he instinctively felt to lie in the creation of novel forms of Beauty. Some peculiarities, either in his early education, or in the nature of his intellect, had tinged with what is termed materialism the whole cast of his ethical speculations; and it was this bias, perhaps, which imperceptibly led him to perceive that the most advantageous, if not the sole legitimate field for the exercise of the poetic sentiment, was to be found in the creation of novel moods of purely physical loveliness. Thus it happened that he became neither musician nor poet; if we use this latter term in its every-day acceptation. Or it might have been that he became neither the one nor the other, in pursuance of an idea of his which I have already mentioned—the idea, that in the contempt of ambition lay one of the essential principles of happiness on earth. Is it not, indeed, possible that while a high order of genius is necessarily ambitious, the highest is invariably above that which is termed ambition? And may it not thus happen that many far greater than Milton, have contentedly remained “mute and inglorious?” I believe that the world has never yet seen, and that, unless through some series of accidents goading the noblest order of mind into distasteful exertion, the world will never behold that full extent of triumphant execution, in the richer productions of Art, of which the human nature is absolutely capable.
Mr. Ellison became neither musician nor poet; although no man lived more profoundly enamored both of Music and the Muse. Under other circumstances than those which invested him, it is not impossible that he would have become a painter. The field of sculpture, although in its nature rigidly poetical, was too limited in its extent and in its consequences, to have occupied, at any time, much of his attention. And I have now mentioned all the provinces in which even the most liberal understanding of the ·707· poetic sentiment has declared this sentiment capable of expatiating. I mean the most liberal public or recognized conception of the idea involved in the phrase “poetic sentiment.” But Mr. Ellison imagined that the richest, and altogether the most natural and most suitable province, had been blindly neglected. No definition had spoken of the Landscape-Gardener, as of the poet; yet my friend could not fail to perceive that the creation of the Landscape-Garden offered to the true muse the most magnificent of opportunities. Here was, indeed, the fairest field for the display of invention, or imagination, in the endless combining of forms of novel Beauty; the elements which should enter into combination being, at all times, and by a vast superiority, the most glorious which the earth could afford. In the multiform of the tree, and in the multicolor of the flower, he recognized the most direct and the most energetic efforts of Nature at physical loveliness. And in the direction or concentration of this effort, or, still more properly, in its adaptation to the eyes which were to behold it upon earth, he perceived that he should be employing the best means—laboring to the greatest advantage—in the fulfilment of his destiny as Poet.
“Its adaptation to the eyes which were to behold it upon earth.” In his explanation of this phraseology, Mr. Ellison did much towards solving what has always seemed to me an enigma. I mean the fact (which none but the ignorant dispute), that no such combinations of scenery exist in Nature as the painter of genius has in his power to produce. No such Paradises are to be found in reality as have glowed upon the canvass of Claude. In the most enchanting of natural landscapes, there will always be found a defect or an excess—many excesses and defects. While the component parts may exceed, individually, the highest skill of the artist, the arrangement of the parts will always be susceptible of improvement. In short, no position can be attained, from which an artistical eye, looking steadily, will not find matter of offence, in what is technically termed the composition of a natural landscape. And yet how unintelligible is this! In all other matters we ·708· are justly instructed to regard Nature as supreme. With her details we shrink from competition. Who shall presume to imitate the colors of the tulip, or to improve the proportions of the lily of the valley? The criticism which says, of sculpture or of portraiture, that “Nature is to be exalted rather than imitated,” is in error. No pictorial or sculptural combinations of points of human loveliness, do more than approach the living and breathing human beauty as it gladdens our daily path. Byron, who often erred, erred not in saying,
I’ve seen more living beauty, ripe and real,
Than all the nonsense of their stone ideal.
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. ·709· Ellison who first