BEAUTIES AND PRINCIPLES OF THE AIIT. 83 



consulted, a scene might be planted with but one kind o' 

 tree, the effect of which would be sameness ; on the othei 

 hand, variety might be carried so far as to have every tree 

 of a different kind, which would produce a confused effect. 

 Harmon}?-, however, introduces contrast and variety, but 

 keeps them subordinate to unity, and to the leading expres 

 sion ; and is, thus, the highest principle of the three. 



In this brief abstract of the nature of imitation in Land- 

 scape Gardening and the kinds of beauty which it is possible 

 to produce by means of the art, we have endeavored to 

 elucidate its leading principles, clearly, to the reader. 

 These grand principles we shall here succinctly recapitu- 

 late, premising that a familiarity with them is of the very 

 first importance in the successful practice of this elegant 

 art, viz. : 



The Imitation of the Beauty of Expression, derived 

 from a refined perception of the sentiment of nature : The 

 Recognition of Art, founded on the immutabiUty of the 

 true, as well as the beautiful : And the Production of 

 Unity, Harmony, and Variety, in order to render com- 

 plete and continuous, our enjoyment of any artistical 

 work. 



Neither the professional Landscape Gardener, nor the 

 amateur, can hope for much success in realizing the nobler 

 effects of the art, unless he first make himself master of the 

 natural character or prevailing expression of the place to 

 be improved. In this nice perception, at a glance, of the 

 natural expression, as well as the capabilities of a residence, 

 lies the secret of the superior results produced even by the 

 improver, who, to use the words of Horace Walpole, " is 

 proud of no other art than that of softening nature's harsh- 

 ness, and copying her graceful touch." When we discover 



