42 THE VILLA GARDENER. 



or regular manner, without stopping to enquire into its merits, or, in their 

 admiration of the modern style, being able to separate what was merely the 

 eflPect of novelty, from what was due to its permanent characteristics. If 

 what we have said on this subject has been understood by the reader, he will 

 consider the aijcient style as equal in point of merit to the modern one, and 

 possessing quite as much claim to be called natural, and in good taste, as it 

 does. In fact, the geometric style may be said to be the more natural of the 

 two ; since the first indications which children and rude nations give of 

 buildings, sculpture, gardening, or any other ornamental or mixed art, are 

 always marked by regularity, or some disposition of the materials which 

 shows the object produced to be the work of man, and not the result of 

 nature. 



63. As general rules it may safely be laid down, that whenever a piece of 

 ground to be laid out as a garden is small, and bounded by straight lines, the 

 geometrical style is that which ought to be employed ; that when the ground 

 is to be laid out as a garden is large, it may be laid out in any style, or partly 

 in the regular, and partly in the irregular styles ; and that where the surface 

 of the ground is varied, their regular style is most suitable ; while the geome- 

 trical style should be preferred when the surface is even or flat. With respect 

 to those modifications of the natural or irregular style which we have de- 

 scribed as the picturesque, gardenesque, and rustic, or rural, the first, as it 

 requires least labour in the management, is best adapted for grounds of con- 

 siderable extent ; the second is more suitable for those persons who are 

 botanists, rather than general admirers of scenery, because it is best calcu- 

 lated for displaying the individual beauty of trees and plants, and the high 

 order and keeping of lawns, walks, &c. ; and the third for persons of a romantic 

 or sentimental turn of mind, who delight in surrounding themselves with 

 scenery associated with a station in life strongly opposed to that in which 

 they are really placed ; or to attract attention by producing a striking contrast 

 to refined and artistical scenery, whether in the irregular or geometric styles. 



64. In addition to those principles which are common to architecture and 

 landscape gardening, there are some which are peculiar to each. These, it 

 must be at once obvious, are very different in the two arts ; since, in the one, 

 viz. architecture, the artist has to operate with inanimate matter, in conse- 

 quence of which his productions are most perfect the moment after they are 

 finished ; while, in the other, he has to operate with materials which live and 

 grow, and the effect of which depends on time and future management. 



Permanence may be said to be the principle which is peculiarly character- 

 istic of architecture, and which leads to all the various subordinate prin- 

 ciples and rules taught by the art of building ; such as stability of position, 

 durability of materials, strength of construction, Src. 



Progress lyay be said to be the peculiar principle which is characteristic of 

 landscape-gardening, and which leads to all the subordinate principles and 

 rules which regulate gardening as an art of culture. Among these are, pro- 

 viding for growth, by suiting the trees to soil, situation, and climate ; provid- 

 ing for their future increase in size, by thinning and pruning ; providing for all 

 the various points of culture and management; and providing for removal 

 and decay, by the introduction or substitution of young plants. 



Every natural change which takes effect on an architectural structure after 

 it is completed, may be considered as a step in its progress to decay ; while 



