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lo the laiidscape gardener, this loss would be unspeakable, 

 were it carried to any extent. It is a fact well known to 

 arboricultural observers, that no large subject, once pollarded, 

 ever wholly recovers its natural and free conformation, under 

 the most propitious circumstances of soil and climate ; al- 

 though it may acquire at last a bushy head, it becomes like 

 the lime, a tree, which, unless on the foreground, is always 

 formal and monotonous in landscape. 



May we not then fairly conclude, that, in the art of giving 

 Immediate Effect to Wood, there is sufficient room for the 

 improvement of such a system ? In any view, it will be 

 thought of some moment, if the most beautiful and valuable 

 of all vegetable productions can be saved from mutilation ; 

 if picturesque effect can at the same time be preserved, and 

 many years of life anticipated. 



In fact, it appears, that the best writers, of the last and 

 present century, consider the art as purely mechanical and 

 fortuitous, and founded on no fixed or known principles. 

 Mason, in the most elegant didactic poem of modern times, 

 in which an account of the art would certainly have been 

 given, as an interesting branch of landscape gardening, had 

 he regarded it as practical, mentions transplanting in a very 

 beautiful way indeed, but quite incidentally, and merely as 

 a mechanical art. 



Such sentence past, where shall the dryads fly, 



That haunt yon ancient vista? — Pity, sure, 



Will spare the long cathedral aisle of shade, 



In which they sojourn. Taste were sacrilege, 



If, lifting there the axe, it dared invade 



Those spreading oaks, which in fraternal files, 



Have paired for centuries, and heard the strains 



Of Sydney's, nay perchance of Surrey's reed. 



Yet must they fall ; unless mechanic skill. 



To save her offspring, rouse at our command, 



And where we bid her move, with engine huge, 



Each pond'rous trunk, the pond'rous trunk there move ; 



