UTILITY OF PLANS. 295 



gem of a picture is attributable to a Claude or a 

 Turner. AVe fear that proper allowance is seldom 

 made for this disadvantage on the part of the garden- 

 artist. It was averred, for example, by Repton, that 

 many of those clumps which brought no small siiare 

 of obloquy on the style of Brown — a style sulliciently 

 marked with other and inherent faults — were intended 

 by him to be thinned out into grouj^s ; but in conse- 

 quence of his intentions being forgotten or disregarded, 

 were permitted to remain and grow up into that unde- 

 niable deformity which awakened the bitter criticism 

 of Price and others. In this, Brown appears tu have 

 beeu made responsible for errors not his own. It is 

 easy to see how other artists may sufllr similar injus- 

 tice. In short, by this means, the delicate finish of 

 the scenic picture may never have been accorded, and 

 60 the desired effect, imagined with exquisite taste, 

 and skillfully aimed at in the primary execution, may 

 be entirely frustrated. And how are these natural 

 defects of the art to be remedied ? Only by repeated 

 revision. To stipulate for such revision, as the privi- 

 lege of the orio^inal artist, mav be inconsistent with 

 the delicacy of a gentleman, while actually engaged 

 in his profession ; but in a work like the present, no 

 delicacy should prevent the strong assertion of its ne- 

 cessity. Without doubt, to attain a degree of periec- 

 tion, the artist should be occasionally recalled to revise 

 liis work, and to correct the consequences of time by 

 a few additional touciies. But the artist may cease to 

 practice, and his woiks may long outlive him; to meet 

 these contingences, we should recommend that, in the 

 case of any new parks and pleasure-grounds, or where 

 any considerable addition or alteration in them has 



