LANDSCAPE-GARDENINO. 291 



can compel attention to the foreground, the middle dis- 

 tance, and the extreme distance, as he pleases. In 

 tliese respects the Landscape-gardener is bj no means 

 so fortunate. It is true that he too can lead the eye to 

 certain definite objects, though in this liis power is 

 comparatively limited. His greatest dithcultj', how- 

 ever, is, tiiat his points of view are continually chang- 

 ing. A scene which is really beautiful, as viewed from 

 the window of the drawing-room, may appear tame at 

 the end of the terrace, or, as seen transversely from 

 some point in the grounds, may exhibit little else than 

 incongruity and confusion. These are defects which 

 of course are to be abated or concealed. Besides one 

 or two leading views, numerous subordinate scenes 

 may have to be elaborated in the same range of 

 grounds — as many, in short, as, were they painted, 

 would fill a gallery of moderate dimensions. Here 

 the principle of intricacy comes to the artist's aid, if 

 he is only skillful enough to employ it. There is also 

 a boundless variety in the expression of trees, which 

 often supply most beautiful and interesting pieces of 

 verdure apart from the main beauties of the place. 

 Distant prospects into the adjacent country are also 

 a useful and often an available resource. It may bo 

 assumed as an axiom that a residence with a single 

 fine view will speedily prove a wearisome one. The 

 visitor will admire the show-scene for a little, but he 

 M'ill soon turn away from it, inquiring, "Is this all? — 

 have yon no more pictures in your gallery ? " To meet 

 these demands the artist must provide a variety of 

 food for the eye, which is quickly sated and wearied 

 with uniformity. But to effect this he must not only 

 possess invention and industry in himself, l)ut he must 



