50 fURTHER REMARKS ON LANDSCAPE GARDENING. 



produced in profusion. The flowers at the upper side are at first 

 white, then change to a cream colour tinged with blush, the outer 

 surface is a deep blush, and the tube almost red. These beautiful 

 heads of flowers make a fine contrast with the noble velvetty-green 

 foliage. The blossoms are highly fragrant, and perfume the air around 

 to some distance with their delicious fragrance. The plant is about 

 the same in vigour as L. gratissima, and appears to flourish admi- 

 rably in the greenhouse. It deserves to be in every one, being so 

 fine a plant, and blooming inthe autumn and winter months. 



ARTICLE II. 



FURTHER REMARKS ON LANDSCAPE GARDENING, 



BY A LANDSCAPE GARDENER. 



In the late numbers of the previous volume of this Magazine, I gave 

 some hints on the formation of walks, &c. I here forward a few 

 more on the mode of producing the most harmonious effects under 

 existing circumstances. 



All the most beautiful objects or scenes in nature are symmetrical, 

 forming a centre and two sides, thus together composing a whole, 

 which has a beginning, a middle, and an end. 



Now, in this centre, whether visible, or supplied by the imagina- 

 tion, is the axis of symmetry. In the simplest kind of symmetry, the 

 two sides are equal and alike, and the axis is, of course, easily dis- 

 covered ; but in cultivated and refined symmetry, the sides are un- 

 equal, and so combined and varied with the centre, that it requires 

 the eye of a philosophical artist to detect the axis; which, in other 

 words is called the axis of the composition. If it is once admitted 

 that no scene can be truly beautiful or satisfactory that is not more or 

 less symmetrical, then we have only to search for this quality in 

 every building or landscape presented for examination, for the 

 purpose of supplying it where it is wanting, either by abstracting 

 what interferes with it, or by the addition of what is necessary to 

 render it effective or obvious. But, though every artist will allow 

 this to be theoretically true, yet he will also allow that it requires 

 great practical experience to be able to carry the idea into effect, 

 especially in general scenery. In the case of a house, or a group 

 of buildings, the difficulty is not great, because all the forms in build- 



