Theory and Practice 97 



most interesting scenes in nature, if it could be divested 

 of its disgusting and artificial formality; but this can 

 only be effected by an equally violent, though less ap- 

 parent, interference of art; because, without absolutely 

 copying any particular scene in nature, we must en- 

 deavour to imitate the causes by which she produces 

 her effects, and the effects will be natural. 



The general cause of a natural lake or expanse of 

 water is an obstruction to the current of a stream by 

 some ledge or stratum of rock which it cannot penetrate; 

 but as soon as the water has risen to the surface of this 

 rock, it tumbles over with great fury, wearing itself 

 a channel among the craggy fragments, and generally 

 forming an ample basin at its foot. Such is the scenery 

 we must attempt to imitate at Thoresby. 



Having condemned the ill-judged interference of art 

 in the disposition of the ground and water at Thoresby, 

 it may, perhaps, be objected, that I now recommend an 

 artificial management not less extravagant, because I 

 presume to introduce some appearance of rock scenery 

 in a soil where no rock naturally exists; but the same 

 objection might be made with equal propriety to the in- 

 troduction of an artificial lake in a scene where no lake 

 before existed. When under the guidance of Le Notre 

 and his disciples, the taste for geometric gardening pre- 

 vailed, nature was totally banished or conceal^ by the 

 works of art. Now, in defining the shape of land or 

 water, we take nature for our model; and the highest 

 perfection of landscape gardening is to imitate nature 

 so judiciously that the interference of art shall never 

 be detected. 



A rapid stream, violently agitated, is one of the most 

 interesting objects in nature. Yet this can seldom be 

 enjoyed except in a rocky country; since the more im- 



