34 THE VILLA GARDENER. 



separations between striking scenes, that the one may be forgotten before the 

 other is entered on ; and that, by means of shade near the eye, the objects 

 at a distance on which light is thrown may appear the farther off. In 

 studying the succession of views, the artist will operate on the principle of 

 contrast so far as to make them different ; and on the principle of union, so 

 as not to render them inconsistent with each other. The principle of contrast 

 will direct that the same description of ornaments should not be distributed 

 over the whole place ; and that neither flowers nor trees and shrubs should 

 prevail everywhere, any more than that the same kind of tree and shrub 

 should. The same turf and the same description of gravel may prevail 

 throughout a whole place, as fundamental principles of union, as the same 

 sky and clouds appear in the atmosphere ; but every thing else should be 

 varied, by passing from one character of scene into another, till we have 

 made the circuit of the entire garden : by which is meant not merely walking 

 round it, which may suffice in small places, where the means are limited ; 

 but walking round it twice, the second time being in a contrary direction to 

 the first. This is to be effected by the mode before mentioned, of making 

 one walk cross over another, so that the spectator shall not be aware of being 

 carried twice over the same ground. In places of the very smallest kind, 

 even of a few perches in extent, there are always two characters of view, one 

 looking towards the house, and one looking from it. Hence, in a larger 

 place, there must be a series of views of the one character, and another series 

 of the other; and, consequently, to see all the beauties of such a place, a 

 stranger would be required to walk twice over the same ground; that is, after 

 he had been once over it, to turn round and retrace his steps ; but, by the 

 system of bridging and tunneling, the eye of the spectator is carried twice 

 over the same ground without his knowing it, and without his passing twice 

 over the same walks ; and thus he can hardly fail of giving the place credit 

 for a greater extent than it really possesses. 



51. Variety may he added to small places laid out in straight lines, by break- 

 ing these lines ; and this may be done in many different ways. The straight 

 lines of the coping of a wall may be broken by clusters of ivy ; by allowing 

 some of the trees or flowering climbers, planted against the wall, to grow 

 above it in some places ; or by allowing plants to grow out of crevices in it. 

 The lines of walls may be broken, by allowing the branches of adjoining 

 shrubs to extend over them in some places, and in others to produce masses 

 of shade and concealment. Even flower-beds and compartments enclosed by 

 box edgings, which, when newly formed, are perfectly regular or symmetrical, 

 may have the additional beauty of variety conferred on them in a similar 

 manner. All objects distant from the eye, in a formal garden, maybe varied 

 by placing trees in the foreground; and the more slender these trees are, the 

 greater the number that may be planted. Variety may be introduced, even 

 on flat surfaces, by the addition of ivy, and allowing it to trail along the 

 ground, or by planting evergreen herbaceous plants ; care being taken that the 

 masses so produced shall always be connected with something else with which 

 they may form a whole. Rockwork, whether natural or artificial, derives a 

 great part of its beauty from the variety produced by a partial clothing of 

 vegetation; and even houses and naked walls may be rendered interesting by 

 the shade and variety, produced by trees or other plants trained against 

 them, altogether independently of the botanical interest which these plants 



