GENEEAL PEINCIPLES. 33 



character of the views, but a means of procuring views of a very striking 

 description. In forming short tunnels in pleasure-grounds, the greatest care 

 must be taken to have them straight in direction, so that, on entering at one 

 end, the light may be seen at that opposite ; and never to construct them in a 

 circuitous direction, because, in that case, they are necessarily dark, in con- 

 sequence of the light not entering the tunnel directly. This kind of circuitous 

 tunnel is also objectionable, because it might raise in some minds an idea of 

 the tricks of grotto- work, which were tliought so much of in the ornamental 

 gardening of the seventeenth century, but which are now justly considered as 

 puerile conceits. The kind of tunnel that we allude to as desirable in small 

 gardens is, in point of use, nothing more than a bridge carried over a walk 

 instead of over water; and with the architecture so disguised by vegetation as 

 not to be obtrusive, or to interrupt the idea of the continuation of the walk. It 

 is almost needless to observe that perfect dryness, both in the walk and in the 

 masonry, is essential to bridges or tunnels of this kind; and this can readily 

 be obtained by covering the arch, after it is built, with a layer of claj'. The 

 effect of even one tunnel of this kind in a limited space, in adding to the 

 length of walk, and in giving variety to the scenery, may be seen in the 

 public terrace-garden at Gravesend. Open and covered seats are also sources 

 of variety in the views of artificial scenery, both as foregrounds to look from, 

 and as objects to look at. In small places, however, they require to be intro- 

 duced with the greatest caution, and never as conspicuous features ; because 

 more than one, for the sake of being able to read or Avork in the open air in 

 fine weather, can seldom be requisite. In large places, on the other hand, 

 seats in different situations are not only useful as affording resting-places, but 

 as indicating particular points of view, which might otherwise pass unnoticed 

 by a stranger. 



49. Architectural ornaments, such as vases, statues, ^-c, water in different 

 forms, pieces of rockwork, and other objects of the like kind, independently 

 altogether of trees, shrubs, and plants, and of the view of objects beyond the 

 boundary fence, form sources for varying the views from the walks of a 

 small place. Statues, vases, and other architectural ornaments, ought to be 

 very sparingly introduced at a distance from the house, in gardens in any 

 style ; but more especially in such as are laid out in the irregular or modern 

 manner. Mixed up with groups of flowers and shrubs, they divide the 

 attention between the beauties of art and the beauties of nature ; and, as the 

 mind can only attend to one sensation, and experience one emotion of plea- 

 sure, at a time, it becomes distracted among so many. The true situation for 

 statues is on an architectural terrace, or in an architectural flower-garden 

 adjoining the house, tlie conservatory, or some other architectural structure, 

 where architecture and sculpture are the main features, and flowers and 

 vegetation are altogether subordinate. 



50. Combination of objects. — When the artist has brought together in his 

 imagination all the different artificial sources of variety that his subject i^ 

 capable of receiving, his next business is to arrange these according to some 

 kind of order. He will not think of having all his shady walks at one place, 

 and all his open walks at another; neither will he distribute shade and sun- 

 shine equally over the whole scene. He will contrive to have at least one 

 shady walk for midsummer, and one perfectly open to the sun, for midwinter; 

 and he will dispose of the shady parts of the walks so as generally to form 



