72 LANDSCAPE GARDENING. 



Ao-ain and ao;ain has it been said, that Landscape Gar* 

 dening and Painting are allied. In no one point does it ap- 

 pear to us that they are so, more than in this — that in pro- 

 portion to the limited nature of the subject should simpli- 

 city and unity of expression be remembered. In some of 

 the finest smaller compositions of Raphael, or some of the 

 Landscapes of Claude, so fully is this borne in mind, that 

 every object, however small, seems to be instinct with the 

 same expression ; w^hile in many of the great historical 

 pictures, unity and harmony are wrought out of the most 

 complex f ariety of expression. 



We must not be supposed to find in nature only the 

 Beautiful and the Picturesque. Grandeur and Sublimity 

 are also expressions strongly marked in many of the noblest 

 portions of natural landscape. But, except in very rare 

 instances, they are wholly beyond the powers of the land- 

 scape gardener, at least in the comparatively limited scale 

 of his operations in this country. All that he has to do, is 

 to respect them where they exist in natural landscape which 

 forms part of his work of art, and so treat the latter, as 

 to make it accord with, or at least not violate, the higher 

 and predominant expression of the whole. 



There are, however, certain subordinate expressions 

 which may be considered as qualities of the Beautiful, and 

 which may originally so prevail in natural landscape, or be 

 so elicited or created by art, as to give a distinct character 

 to a small country residence, or portions of a large one. 

 These are simplicity, dignity, grace, elegance, gaiety, 

 chasteness, &c. It is not necessary that we should go 

 nto a labored explanation of these expressions. They are 

 more or less familiar to all. A few fine trees, scattered 

 and grouped over any surface of smooth lawn, will give a 



