The Art of Landscape G 



ARDENING 



of its natural beauties a work of some labour ; yet, by- 

 availing ourselves of those natural beauties, and dis- 

 placing some of the encumbrances of art, the character of 

 the place may be made picturesque and cheerful, and 

 the situation, which is not really damp, may be so man- 

 aged as to lose that appearance. The first object is to 

 remove the stables, and all the trees and bushes in the 

 low meadow, which may then with ease be converted 

 into a pleasing piece of water, in the front of the house. 

 In its present state, two tall elms are the first objects 

 that attract our notice ; from the tops of these trees the 

 eye measures downwards to the house, that is very in- 

 distinctly seen amidst the confusion of bushes and build- 

 ings with which it is encumbered ; and the present water 

 appearing above the house, we necessarily conclude that 

 the house stands low : but instead of this confusion, let 

 water be the leading object, and the eye will naturally 

 measure upwards to the house, and we shall then pro- 

 nounce that it no longer appears in a low situation. 



However delightful a romantic or mountainous 

 country may appear to a traveller, the more solid ad- 

 vantages of a flat one to live in are universally allowed; 

 and in such a country, if the gentle swell of t,he ground 

 occasionally presents the eye with hanging woods, dip- 

 ping their foliage in an expanse of silvery lake, or softly 

 gliding river, we no longer ask for the abrupt precipice 

 or foaming cataract. Livermere Park possesses ample 

 lawns, rich woods, and an excellent supply of good-col- 

 oured water : its greatest defect is a want of clothing near 

 the house, and round that part of the water where the 

 banks are flat ; yet, in other parts, the wood and water 

 are most beautifully connected with each other. 



Milton Park. Where the ground naturally pre- 

 sents very little inequality of surface, a great appearance 



