|John Robert Cozens, A Ruined Fort near Salerno, ca. 1782 (The Courtauld Gallery)|
|Carl Philipp Fohr, The Ruins of Hohenbaden, 1814-15 (The Morgan Library)|
|Samuel Palmer, Oak Tree and Beech, Lullingstone Park (The Morgan Library)|
"It is very true," said Marianne, "that admiration of landscape scenery is become a mere jargon. Every body pretends to feel and tries to describe with the taste and elegance of him who first defined what picturesque beauty was. I detest jargon of every kind, and sometimes I have kept my feelings to myself, because I could find no language to describe them in but what was worn and hackneyed out of all sense and meaning."
"I am convinced," said Edward, "that you really feel all the delight in a fine prospect which you profess to feel. But, in return, your sister must allow me to feel no more than I profess. I like a fine prospect, but not on picturesque principles. I do not like crooked, twisted, blasted trees. I admire them much more if they are tall, straight, and flourishing. I do not like ruined, tattered cottages. I am not fond of nettles or thistles, or heath blossoms. I have more pleasure in a snug farm-house than a watch-tower—and a troop of tidy, happy villages please me better than the finest banditti in the world."
Marianne looked with amazement at Edward, with compassion at her sister. Elinor only laughed.
My favorite artist among the Germans is Johann Georg von Dillis, who is represented at the Morgan by an oil sketch of a small, gnarled tree, not the kind of landscape I usually associate with him.
I was surprised to hear from my friend that he is reading, in English Wilhelm Meisters Wanderjahre. He expressed dismay that he found it very difficult to "get into." Well, every morning I have been reading a small section of the novel, and I am having something of the same experience. Still, I persevere.