Theory AND Practice 183 



and inhabitancy, contrasted with those of stillness and 

 solitude. Its form is meant to be humble, without 

 meanness; it is and appears the habitation of a labourer 

 who has the care of the neighbouring woods ; its sim- 

 plicity is the effect of art, not of neglect or accident ; 

 it seems to belong to the mansion, and to the more 

 conspicuous tower, without affecting to imitate the 

 character of either. 



The propensity for imitation, especially where no 

 great trouble or expense is incurred, has made treillage 

 ornaments so common that some observations con- 

 cerning them may be expected in this work, especially 

 as 1 believe I may have contributed originally to their 

 introduction ; but 1 little thought how far this flimsy 

 ornament might be misapplied. 



The treillages of Versailles and Fontainebleau were 

 of substantial carpentry, preserving architectural pro- 

 portions, in which plants were confined and clipped to 

 form a sort of vegetable and architectural berceau or 

 cabinet de verdure ; these being made of strong wood 

 and painted were more costly and more durable ; and 

 as they only formed a frame for the plants, they might 

 perish without injuring the forms of these leafy build- 

 ings ; but the English treillage is made of such slight 

 materials and so slightly put together that they can 

 hardly outlive the season for which they are erected. 

 This, however, is no objection where they are used in 

 flower-gardens, or where they are merely to be consid- 

 ered as garden-sticks supporting plants ; but when 

 added to architectural houses and made the supporters 

 of a heavy roof or even a canvas awning, it looks as 

 if the taste of the country were verging to its decline, 

 since shade might be obtained by the same awning 



