28 TIIF, VILLA GARDENER. 



nature oi- accident, into a position where it requires extraordinary forms of 

 growth in its hranches to adjust them to the natural symmetry belonging to 

 its species : for example, when a tree, planted on the hanks of a river or lake, 

 has its trunk inclined over the water, and its he&d in an erect position, and 

 balanced by branches on each side, in the usual manner. 



41. Variety is the next beauty common to architecture and to landscape- 

 gardening ; and it must be acknowledged to be a great addition to symmetry, 

 or to any whole in which there is a complete imity of expression, whether 

 that whole be irregular or symmetrical. In architecture, variety is produced 

 in symmetrical and regular buildings, by a difference in the details ; and, in 

 irregular buildings, by a difference even in the smaller parts of the composi- 

 tion, as well as in the details. In regular and symmetrical buildings, variety 

 is chiefly confined to what may be considered the ornamental parts of the 

 edifice ; such as architraves, mouldings, cornices, &c. The component parts 

 which are essential to the symmetry, or the regularity, of the whole must 

 remain the same ; whereas, in irregular buildings, not only may there be a 

 variety in the mouldings and ornaments, but in the component parts ; such as 

 projections, recesses, towers, &c. 



42. In the ancient style of landscape-gardening, variety was very seldom 

 attempted, except in flower-gardens ; because, as we have already observed, 

 it was a beauty so common in the surrounding scenery, as not to he in 

 demand. The reverse is the case in the modern style of laying out grounds ; 

 for, the country being now under regular cultivation, in right-lined enclosures, 

 variety is, in a great measure, banished from general scenery ; and, hence, it 

 is sought for as a rarity in artificial scenery, in the same manner as uniformity 

 was in ancient times. 



43. In planting, variety is produced in several ways : by varying the dis- 

 positions and distances of trees of the same kind relatively to one another ; 

 by varying the disposition and the distances of trees of the same kind Avith 

 shrubs principally of one kind ; and by the use of trees and shi'ubs of many 

 different kinds. The latter is the most difficult ; as, to produce a proper effect, 

 some knowledge of botany and of plant culture is required, as well as a 

 knowledge of art. The reason is, that this variety of trees and shrubs is 

 known to comparatively few ; and, many of them having been but a few years 

 in the country, it is only in consequence of botanical knowledge, and a know- 

 ledge of the art of cultivation, that an estimate can be formed of what, in 

 point of bulk and character, they will afterwards arrive at, Hence, an artist 

 may have a knowledge of architecture and of the principles of picturesque 

 beauty, in the general disposition of landscape scenerj', without being at all 

 adequate to produce the higher beauties of which landscape-gardening is 

 susceptible ; and hence, also, it will almost always be more easy to form a 

 perfect landscape-gardener out of a gardener and botanist, than out of a land- 

 scape-painter or an architect. The cause is, the science of botany ; and that 

 practical application of it which constitutes a knowledge of plants and their 

 culture, consisting of numerous details, and requiring considerable time, are 

 best attained in youth. 



44. In the disposition of a great number of sorts of trees and shruhs in 

 a plantation, some principle of order must be adopted. If the sorts are mixed 

 together indiscriminately, the result is left to chance ; if they are mixed toge- 

 ther as equally as possible, then the result must necessarily be monotony, by 

 the same number of kinds appearing in every part of the plantation ; and, if 



