22 



THK VILLA GAEDJENEE. 



fig. 2., while the artist-like junction is &\\o\\nm. fig. 3. The same remark will 

 apply to the forms of flower-beds on gravel or turf: they are always easily 

 recognised as belonging to art, but not always to high art ; that is, the shapes 

 of the beds are not always artist-like. In fig. 5., the forms of the beds 

 resemble those of common cordate leaves, thrown down in a natural manner, 

 some in one direction and some in anothei', as if they had dropped off from 

 a dried specimen in a hei-bavium. in fig. 4,, the same leaves are disposed of, as 



a whole, in an artist-like manner. In fig. 6., the 



shapes, considered separately, are artist-like ; 



but they are thrown 



down without the 



y'^~^\ ~ "~^ f \ slightest regard to 



<^ < \ y symmetry. Iwfig. 7., 



X>„^^^ V««.^ they are disposed of 



symmetrically, that 

 is, according to art. 

 Even a straight line, 

 in gardening and in 

 architecture, may be laid out or formed in an imartist-like manner ; for 

 example, a line of box, or a brick edging, to a walk, or to a bed or border, 

 which, instead of being perfectly straight, is bent to one side, will be much 

 more offensive to the eye of an artist, than a line perfectly straight in the 



direction of all its parts, but some parts 

 of which are wanting. It is not that 

 either line could have been formed by 



nature, but that the evidence of art is 

 more decided in the one case than in the 

 other. The imagination easily supplies 

 the parts which are wanting ; but it will not so easily set that part of the line 

 straight which is bent to one side. If, indeed, the line were bent equally to 

 both sides,'the absence of rigid art would be less offensive, because the imagin- 

 ation would form a middle line for itself. 



34. Combmation of parts ioform a whole. — The rules, or rather, subordinate 

 principles, derived from the principle of a whole are very numerous, both in 

 ar(;hitecture and landscape-gardening. In architecture, a building is gene- 

 rally considered as forming a whole of itself, without reference to the scenery 



