220 PARKS AND PLEASURE-GROUNDS. 



compel attention to tlie foreground, the middle distance, 

 and the extreme distance, as he pleases. In these re- 

 spects the Landscape Gardener is by no means so for- 

 tunate. It is trne that he too can lead the eye to certain 

 definite objects, though in this his power is comparatively 

 limited. His greatest difficidty, however, is, that his 

 points of view are continually changing. A scene which 

 is really beautiful, as viewed from the ^vindow of the 

 di'awing-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 coui'se 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 gromids, — as many, in short, as, were 

 they painted, would fill a gallery of moderate dimensions. 

 Here the principle of intricacy comes to the artistes 

 aid, if he is only skilful enough to employ it. There is 

 also a boimdless 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 resom-ce. It may be as- 

 sumed as an axiom that a residence with a single fine 

 view will speedily prove a wearisome one. The visitor 

 wiU admire the show scene for a little, but he wiU soon 

 turn away from it, inquiring, " Is this aU ? — have you 

 no more pictures in your gallery V To meet these de- 

 mands 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, but he must be allowed time and 

 opportunity to exercise them. If he is called but once 



