131 



Wh 



en 



every 



had its little symmetrical 



arum 



ins 



laid out, it is not to be wondered that the universal sameness 

 of the design should create disgust in him who could never see 

 any thing else, and at length that, 



" Tir'd of the scene Parterres and Fountains yield, 

 " We find, at last, he better likes a field." 



However imposing and magnificent a straight walk may be, 

 between two lines of lofty trees, yet if every walk about a place 

 be of the same kind, we shall prefer 1 lie winding footpath across 

 the forest; and it was therefore very natural that the formal and 



artificial style should 



given place to one more 



and 



natural. 



THE MODERN STYLE. 



Instead 



This was in every respect the reverse of ihe form 

 f displaying the means by which Art could triumph over N 



ture, it seems to adopt for its motto 



" Artis est celare Artein 



» 



The natural Landscape was the chief object to be studied 

 while in the ancient style, every situation, when 



shut 



and 

 be- 



the same 



in 



th 



e 



she was to furnish hints and patterns, but not 



modern style, every place open to the 

 country varied with the different surrounding scenery of Na- 

 ture; and consequently Nature was the model for Art \o follow 



but not to copy: 



to be imitated with exact servility. The poet's rule saj 



« To build, to plant, whatever you intend, 

 « To rear the Column, or the Arch to bend, 

 « To swell the Terrace, or to sink the Grot, 

 « In all, let Nature never be forgot." 



