CHAPTER V. 



THE PICTUKESQUE STYLE. 



But regularity can never attain to a great sliareof beauty, 

 and to none of the species called picturesque; a denomiiui' 

 tion in general expressive of excellence, but which, by 

 being too indiscriminately applied, may be sometimes pro- 

 ductive of errors. Thomas Wheatley. 



Nay, farther, we do not scrtiple to .assert that roughness 

 forms tlie most essential point of difference between the 

 beautiful and the picturesque. William Gilpin. 



L'irregularile est V essence du pittoresque. 



Edouard Andr&. 



This chapter is introduced for two purposes : First, 

 to treat of a quality in hmdscape composition which, if 

 carried out to a considerable extent, produces a style 

 really different from either of those already treated ; and, 

 second, to represent any number of additional styles of 

 landscape gardening beyond the two generally recog- 

 nized. There are no common, well defined and well 

 known styles except the natural and the architectural ; 

 but there is no essential reason why there should not be. 

 It may even be regarded as desirable that there shall 

 arise some school of artists with sufficient keenness of 

 invention and purity of feeling to create some really new 

 styles for us. At present it conies best within the range 

 of our study to call attention to the peculiar quality of 

 picturesqueness ; and to suggest that it may, in some 

 situations, be emphasized over a considerable space. In 

 such a case the picturesque is essentially a distinct style. 



There are many plant forms which are picturesque 

 in themselves, and which may best illustrate the nature 

 of this quality to anyone not clearly understanding what 

 it is. Such forms are those of the gingko tree. Table 

 Mountain pine, Weeping Norway spruce, Weeping larch, 



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