CHAP. XCIXx. EUPHORBIACEZ. BUv’xuUS. 1337 
to an adequate pressure.” (Ibid.) Formerly, a great deal of care was required, 
in printing woodcuts, in “the adjustment of a numberof small pieces of paper 
between the stretched parchment and blanket that covered the block, during 
the impression from the common hand-press, in order to give a greater force 
to the bearing upon shadows, while the lights were, of course, equally relieved 
from the presure ;” but a mode is now discovered of lowering the lights by 
the wood-engraver ; and the blocks are now introduced with the type, and 
printed from with the same facility, by the revolving cylinder of a printing- 
machine. 
In the geometricaland architectural Style of Gardening, the box was extensively 
employed, both as a tree and as a shrub, throughout Europe, from the earliest 
times. As a tree, it formed, when clipped into shape, hedges, arcades, arbours, 
and, above all, figures of men and animals. As a shrub, it was used to border 
beds and walks, and to execute numerous curious devices ; such as letters, coats 
of arms, &c., on the ground ; but of all the uses of the dwarf box, the most im- 
portant, in the ancient style of gardening, was that of forming parterres of em- 
broidery ; it being the only evergreen shrub susceptible of forming the delicate 
lines which that style of parterre required,and of being kept within the narrow 
limits of these lines for a number of years. In those days, when the flowers used 
in ornamenting gardens were few, the great art of the gardener was to distin- 
guish his parterres by beautiful and curious artificial forms of evergreen 
plants. These forms may be described generally as belonging to that style 
of ornament known as the taste of Louis Quatorze. Fig. 1216. is a small 
1216 
portion of the ground plan of a parterre laid out in this manner; all the 
lines and dark parts of the figure being formed of box, in no part allowed 
to grow higher than 3 in. from the ground, and the finer lines being about 2 in. 
wide. The space between the lines, in the more common designs, was co- 
vered with sand all of one colour; but in the more choice parterres, different 
coloured sands, earths, shells, powdered glass or potsherds, and other articles, 
were used, so as to produce red, white, and black grounds, on which the green 
of the box appeared to advantage at all seasons. This variety of colours gave 
occasion ‘a bord Bacon’s remark: “ As for the making of knots and figures 
with divers coloured earths, they be but toys: you may see as good sights 
many times in tarts.” The beauty of these parterres was most conspicuous, 
when they were seen as a whole from the windows of the house, or from 
a surrounding terrace-walk. Sometimes, however, they were placed on a 
sloping bank, to be seen from below ; an instance of which may be found in 
the view of the Palazzo del N. H. Venier, on the Brenta, as given in Volka- 
mer’s Continuation der Niirembergischen Hesperidum, published in 1714, a 
portion of which is represented in perspective in fig. 1217. In a view of 
