134 OF RURAL GARDENING. SECT. XI. 



individuals; and to consider the whole as a planta- 

 tion, not as a collection of plants ; are the best 

 general rules which can be given concerning them. 



" In considering the subjects of gardening, Around 

 and wood first present themselves ; water is the next; 

 and, though water is not absolutely necessary to a 

 beautiful composition, yet it occurs so often, and is 

 so capital a feature, that it is always regretted when 

 wanting ; and no large place can be supposed, a little 

 spot can hardly be imagined, in which it may not be 

 agreeable. It accommodates itself to every situation, 

 is the most interesting object in a landscape, and the 

 happiest circumstance in a retired recess ; captivates 

 the eye at a distance, invites approach, and is delight- 

 ful when near; it refreshes an open exposure; it 

 animates a shade, cheers the dreariness of a waste, 

 and enriches the most crowded view. In form, in 

 style, and in extent, it may be made equal to the 

 greatest compositions, or adapted to the least: it 

 may spread in a calm expanse to soothe the tran- 

 quillity of a spaceful scene ; or hurrying along a de- 

 vious course, add splendour to a gay, aud extrava- 

 gance to a romantic situation. So various are the 

 characters which water can assume, that there is 

 scarcely an idea in which it may not concur, or an 

 impression which it cannot enforce." 



On the works of art in gardening, the following 

 passage is pertinent: ".Art was carried to excess, 

 when ground, wood, and water, were reduced to ma- 

 thematical figure, and fimilarity and order were pre- 

 ferred to freedom and variety. These mischiefs, 

 however, were occasioned, not by the use, but the 

 perversion of art; it excluded, instead of improving 

 upon nature, and thereby destroyed the very end it 

 was called in to promote. Architecture requires 

 symmetry, the objects of nature freedom ; and the 

 properties of the one cannot, with justice, be trans- 



