86 



be done, in this art, by the united efforts of industry and in- 

 genuity. Yet, although the whole was very ably and royally 

 executed, and must prove interesting to others, placed in like 

 circiunstances, it furnishes no example for general imitation, 

 or park practice. All the prominent difficulties, with which 

 the ordinary planter has to contend, namely, want of cUmate 

 and soil, and of genial warmth resulting from exposure to 

 the elements, were here removed or obviated. The trees, in 

 this favourite spot, were like the products of nature in the 

 " Happy valley" of Rasselas, " in which all the blessings of 

 vegetation were collected, and the evils extracted and ex- 

 cluded." To succeed, therefore, with removals on the open 

 lawn, would require a different system, as well as very dif- 

 ferent subjects. 



It now only remains to say something of the progress of 

 the art, on the continent of Europe, within the last century ; 

 and on that subject there is little to be told. The two coun- 

 tries, whose example, during this period, has been most gen- 

 erally influential, are England and France. Landscape 

 gardening originated in the former country ; and it was 

 naturally to be expected, that, with a character so attractive, 

 so captivating to the imagination as well as the senses, the 

 taste for it would soon be spread among her continental neigh- 

 bours. It was justly remarked by Walpole,* a very accurate 

 observer, that our style in this new art would never, in all 

 likelihood, be brought into general use among those nations. 

 The expense being suited only to the opulence of a free 

 country, it is there alone that emulation could reign, among 

 a number of independent individuals. The little princes of 

 Germany, he observes, who spare no cost on their palaces 

 and country residences, would be themselves likely to be- 

 come our imitators, especially as their country and climate 

 bear, in many respects, an intimate resemblance to our own. 



* Anecdote? of Painting in England, Vol. IV. 



