598 



LANDSCAPE-GARDENING. 



It may deviate from the course of its destination 

 when any object of sufficient magnitude and im- 

 portance appear to stand in its way. It may have 

 inclination and declination in it, though these 

 should never be purposely thrust in its way. 

 Mere length is not a necessary character of a good 

 approach ; that character can only be derived from 

 the kind of trees and shrubs with which it is em- 

 bellished. These embellishments should be in 

 unison with the scene. If a dreary space has to 

 be passed over, an avenue of stately trees will 

 divert the attention. If the country around is 

 picturesque, natural groups of trees and shrubs, 

 such as holly, thorn, furze, broom, will be most 

 conformably placed along the approach. If roman- 

 tic, then angular projections of rock, roots of 

 trees, holding fast by rugged banks, large forest- 

 trees scattered about in wild profusion ; and ivy, 

 fern, foxglove, and such plants, may adorn the 

 skirts of the road. Whatever be the nature of 

 the scene, exotic plants are quite misplaced near 

 an extended approach. They can be tolerated 

 only towards a cottage ornee ; a villa near a town, 

 which is generally limited as to the extent of 

 ground around it; or even towards a large domain, 

 the ground around which is laid out as flower-gar- 

 dens and shrubberies. 



The character of the entrance-lodge has caused 

 much discussion among landscape-gardeners and 

 architects, without leading to any fixed principle. 

 Mr Gilpin thinks lodges ought to be constructed 

 in conformity to the nature of the scenery in which 

 they are to be placed, rather than in regard to the 

 irchitectural character of the house to which they 

 belong; and the judicious examples which he ad- 

 duces, as appropriate adaptation of lodges, support 

 his views in a striking manner. Should the ap- 

 proach require a bridge, it should partake of the 

 character of its situation. An architectural bridge 

 should only be erected over a river of the larger 

 dimensions ; while a wooden one of simple con- 

 struction, or arches of masonry surmounted with 

 wooden rails for a parapet, will best suit to embrace 

 a rivulet, or extend across a ravine. Whatever 

 may be the structure of the bridge, it should be 

 always horizontal, and have a light and airy appear- 

 ance. On this account, rustic bridges are out of 

 place, excepting in some remarkably umbratile and 

 romantic spot, through which the road may wind 

 between masses of rock and falls of water. 



The adaptation of dress-ground around the bouse 

 to the nature of the surrounding scenery, forms 

 perhaps the most difficult department of the land- 

 scape-gardener. Had he to form a residence, with 

 its accompaniments, on a bare piece of ground, it 

 might be possible to cause all the component parts 

 of the landscape to harmonize ; but where there are 

 existing old trees or buildings, which may have 

 been originally disposed quite out of keeping to 

 every thing around them, it is difficult, sometimes 

 impossible, to apply the principles of harmony to 

 them. And yet it would be barbarity to get quit 

 of them "at one fell swoop." In such instances 

 it is difficult 



" To lead with secret guile the prying sight 

 To where component parts may best unite. 

 And form one beauteous well connected whole, 

 To charm the eye, and captivate the soul." 



" Most places," says Mr Gilpin, " besides the 

 features of the class to which they belong, have 

 some peculiarities of their own, either as respects 

 the general expression of the whole, or the circum- 



stances of the parts, as the ground, the trees. The 

 eye of taste will carefully observe these varieties, 

 as on the due improvement of them at each place, 

 rests, in a great measure, the variety of its own 

 character, and its distinction from others of appar- 

 ently similar features. Composition in landscape 

 embraces three distinct parts, the distance, the 

 middle distance, and the foreground. The first of 

 these is out of our reach of improvement in itself, 

 but will contribute more or less to the general 

 effect of the scene, according to the treatment of 

 those other parts which are under our control. 

 And here it may not be improper to observe, that 

 the very natural pleasure arising from extent of 

 prospect has done much mischief, both in placing 

 the residence, and in dictating its accompaniments." 

 The indistinctness and variety of a distant view, 

 no doubt, is highly interesting ; but other and more 

 important considerations should not be sacrificed 

 to that alone. The middle distance may be within 

 the reach of improvement, especially if the domain 

 is extensive. If the middle ground consists of 

 bold swellings, the plantations may be made to 

 rise above the horizon, and break it where that is 

 necessary. Should it be flat, the plantation should 

 be so placed as to hide that flatness. But, of 

 course, it is the foreground over which the great- 

 est control can be exercised. Here the land- 

 scape gardener may exhibit his ingenuity in the 

 highest degree ; and here his knowledge of land- 

 scape-painting comes to his assistance with power- 

 ful effect. 



Mr Gilpin regrets the total destruction of that 

 grand and well defined foreground to the landscape, 

 as seen from the windows of the mansion, the 

 terrace ; and asks what compensation we have re. 

 ceived in exchange for it, in the bold, exposed, and 

 windy gravelled roads which surround our modern 

 residences. On the removal of trees in the fore- 

 ground for scenic effect, he says, " it will be re- 

 membered that removal, in common with every 

 measure connected with improvement, must act 

 mainly upon the local circumstances of the place, 

 and, consequently, will only admit of general sug- 

 gestions, by which the proprietor may be awakened 

 to the subject ; so far at least as not to destroy 

 the character of his place, by substituting the bold- 

 ness of the modern system for the rich formality of 

 the old school. The hand of taste will cautiously 

 withdraw the veil which separates them, and, by 

 degrees, admit the surrounding scenery without 

 destroying the shelter and partial seclusion so 

 essential to the mansion we have been considering. 

 Cheerfulness, rather than gaiety, should be the 

 proposed result." And on the formation of the 

 dress-ground, he remarks: " The dress ground 

 immediately connected with the house should be 

 considered as the foreground of the picture, which 

 the whole scene taken together presents to the 

 eye, and should be treated as such. The groups 

 and single trees upon it should be planted with re- 

 ference to the scenery beyond, so as to lead the 

 eye into the remote parts of the picture ; excluding, 

 as far as may be, whatever might injure the gen- 

 eral effect." 



Gravel-walks are necessary for the enjoyment of 

 the scenery around. They must be formed accord- 

 ing to the size and circumstances of the place. 

 They should never be carried round the boundary 

 of any particular spot, such as the dress-ground, 

 the lawn, or a lake. The width of walks must be 

 regulated by the use to which they are to be ap- 



