Editor's Introduction xxxv 



it artificial, and that is because Piickler faith- 

 fully applied his principles of art, not after the 

 -f- Englishman Brown's methods, but according 

 to Nature's way. This kind of boldness and 

 nature-wise treatment appears everywhere, as 

 may be seen by any one visiting the park to-day. 

 While one wanders around the shores of the lake 

 out on the lawn and passes through the garden 

 and across the bridge and up and up to the 

 heights where the remnants of the sacred groves 

 stand, one finally turns and surveys the scene of 

 ** tower and town," castle and baths, and the smoke 

 of the factories, all coordinated and unified in one 

 great picture as far as the eye can see, five thou- 

 sand acres, and miles of territory. The parts are 

 as completely harmonized as an opera, or a song, 

 or a great picture. 



After dwelling on this scene, are we not justi- 

 fied in asserting that in all essential matters Prince 

 Piickler has stamped " the last word " on his park 

 at Muskau. There may be parks, and doubtless 

 are, more perfect in this or that part, but it must 

 be conceded by good judges that Piickler has, 

 in spite of his limitations, mistakes, and fail- 

 ures, created one of the few great parks of the 

 world. 



The book. Hints on Landscape Gardeningy 

 although it may seem to deal chiefly with 

 Piickler's letters from England, is really a kind 

 of notebook rather than a formal treatise. It is, 

 however, very informing of the principles and 

 practice of Piickler in his landscape treatment 



