FURTHER REMARKS ON LANDSCAPE GARDENING. 51 



ings are definite and permanent ; but in landscape, all the forms are 

 indefinite, and continually changing by growth, by decay, and even 

 by the seasons of the year. Those who have thought much on this 

 subject, will discover that the idea of rendering every object or scene 

 symmetrical, is but a more accurate and detailed analysis of the ex- 

 pression, " rendering any object or scene a whole." The advantage 

 of treating the subject in this manner is like that of presenting the 

 same object, under different points of view ; we become better ac- 

 quainted with it. 



Breadth of effect has also been touched on before, because without 

 it, that is, in common language, without broad naked surfaces or 

 glades of turf among trees and shrubs, there must either be monotony 

 or confusion in either a park or a pleasure-ground ; monotony if the 

 ground is uniformly covered with trees or shrubs, and confusion if it 

 is covered a little more in some places than in others, but not suffi- 

 ciently uncovered in any place to produce repose or breadth of effect, 

 that is, masses of light or masses of shade. The use of these naked 

 places in parks and pleasure-grounds, is, to contrast with the covered 

 places ; because it is, by this contrast, that what is called the effect 

 is produced. In other words, a thing is what it is only by com- 

 parison with some other thing. If there were only one colour, there 

 could be no such distinction of colours as red, blue, &c. ; and if 

 there were no light, there could have been no such thing as darkness. 

 Every large object looks still larger when a small object of the same 

 kind is placed near it ; every particular form, such as a cube, appears 

 still more definite or particular when it is opposed to a form of an 

 opposite kind, such as a globe ; and every colour appears more in- 

 tense when it is placed adjoining its contrasting or complementary 

 colour. In short, there is not a principle in the whole art of com- 

 position, whether of architecture or landscape-gardening, or, indeed, 

 of any of the fine or mixed arts, so constantly brought into requi- 

 sition as that of contrast, unless, indeed, it be that of connexion. 

 The whole art of landscape-gardening, landscape-painting, and arch.- 

 tecturc, with reference to effect, may, indeed, be resolved into the 

 exercise of these two principles. 



There is one prevailing error which belongs to the department of 

 landscape-gardening, which I have noticed, viz., the acute-angular 

 forms of dug beds for flowers and flowering shrubs, which are com- 



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