and voluntary fixation with which the mind throws itself into some
scene where Art has given

To one brief moment caught from fleeting time
The appropriate calm of blest eternity.

There was another pursuit in which Sir George Beaumont was much
interested, and in which painter and poet were well fitted to unite.
The landscape-gardener, as Wordsworth says, should "work in the
spirit of Nature, with an invisible hand of art." And he shows how
any real success can only be achieved when the designer is willing
to incorporate himself with the scenery around him; to postpone to
its indications the promptings of his own pride or caprice; to
interpret Nature to herself by completing touches; to correct her
with deference, and as it were to caress her without importunity.
And rising to that aspect of the question which connects it with
human society, he is strenuous in condemnation of that taste, not so
much for solitude as for isolation, which can tolerate no
neighbourhood, and finds its only enjoyment in the sense of monopoly.

"Laying out grounds, as it is called, may be considered as a
liberal art, in some sort like poetry and painting; its object
ought to be to move the affections under the control of good
sense; and surely the affections of those who have the deepest
perception of the beauty of Nature,--who have the most valuable
feelings, that is the most permanent, the most independent, the
most ennobling, connected with Nature and human life. No
liberal art aims merely at the gratification of an individual or a
class; the painter or poet is degraded in proportion as he does
so. The true servants of the arts pay homage to the human