LANDSCAPE AND ECONOMIC PLANTING. 323 



interfered with the normal condition of Natui'e ; hence the neces- 

 sity of human taste and skill being applied, in order to replace 

 if possible what an abnormal state of things has brought about. 

 This, then, in so far as it relates to our subject, is the work of the 

 planter ; and we will endeavour in the course of this paper to lay 

 down a few general principles by which this may be accomplished. 

 We admit the ntter impossibility in the compass of a single 

 essay to do anything but merely "tap the subject;" but we trust 

 sufficient may be said to engender a desii'e for further and more 

 minute study. 



Planting for landscape effect may, however, have other objects 

 than merely replacing what the accidents of Nature have deranged. 

 Special circumstances may demand, on given and limited areas, the 

 production of a distinct and complete effect. In such a case, in 

 order to produce beauty in accordance with true principles, it may 

 be found necessary to act in opposition to the teachings of Nature 

 in its widest meaning. Permit me to explain this. "We admit the 

 natural distribution of trees in the landscape, both as an index to 

 climate, soil, etc., to be economically the best guide. We further 

 admit that in the distribution of colour, light, and shade. Nature 

 is the best preceptor ; but we must also recollect that Nature is 

 far reaching. We do not see the whole picture. It is beautiful 

 and complete as a whole, but the eye of man can only see a part. 

 That part is obviously imperfect, as its proportions only bear a 

 relation to the whole. For example, if we take a beautiful picture 

 and divide it into several parts ; looking at these parts separately, 

 we will at once see grave inequalities both in colouring and relative 

 propoi'tion. The incongruities of the parts could only be harmon- 

 ised by seeing it as a whole, as all the details bear a relation 

 to the whole, not to a part. The part inspected separately is a 

 meaningless daub — the whole is an exquisite work of art. In 

 like manner also it is with Nature ; we only see a part of the 

 picture, and consequently we imagine we see certain incongruities. 

 We then introduce art to elaborate on a small scale what 

 Nature has done on a large. While it is right, therefore, to keep 

 the laws of Nature in the forefront as the basis of beauty, 

 it is not expedient to follow her in every detail, because wild 

 Nature is not always and under all circumstances pleasing to 

 the cultivated eye. 



We consequently introduce art, based upon Nature, but refined 

 to the circumstances, to satisfy the demands of educated taste. In 



