BEAUTIES AND PRINCIPLES OF THE ART. 75 



to allow full expansion, so for the Picturesque, the grouping 

 takes every variety of form ; almost every object should 

 group with another ; trees and shrubs are often planted 

 closely together ; and intricacy and variety — thickets — ■ 

 glades — and underwood — as in wild nature, are indispensa- 

 ble. Walks and roads are more abrupt in their windings, 

 turning off frequently at sudden angles where the form of 

 the ground or some inviting object directs. In water, all 

 the wildness of romantic spots in nature is to be imitated 

 or preserved ; and the lake or stream with bold shore and 

 rocky, v/ood-fringed margin, or the cascade in the secluded 

 dell, are the characteristic forms. The keeping of such a 

 landscape will of course be less careful than in the 

 graceful school. Firm gravel walks near the house, and 

 a general air of neatness in that quarter, are indispensable 

 to the fitness of the scene in all modes, and indeed properly 

 evince the recognition of art in all Landscape Gardening. 

 But the lawn may be less frequently mown, the edges of 

 the walks less carefully trimmed, where the Picturesque 

 prevails ; while in portions more removed from the house, 

 the walks may sometimes sink into a mere footpath 

 without gravel, and the lawn change into the forest glade 

 or meadow. The architecture which belongs to the 

 picturesque landscape, is the Gothic mansion, the old 

 English or the Swiss cottage, or some other striking 

 forms, with bold projections, deep shadows, and irregular 

 outlines. Rustic baskets, and similar ornaments, may 

 abound near the house, and in the more frequented parts 

 of the place. 



The recognition of art, as Loudon justly observes, is a 

 first principle in Landscape Gardening, as in all other ai-ts ; 

 and those of its professors have erred, who supposed that 



