PLANTING. 47 



contemplates a rugged prospect that he has newly or partially 

 planted, how it will one day present the 



. . . Magnificence of many-folded hills, 

 And promontories set of solemn pines 1 



This indispensable looking forward need not impair our present 

 means of creating beauty. There are shrubs and trees of large size 

 to be procured that can be carefully transplanted without danger 

 of loss. When trees of small growth are of necessity used, tempo- 

 rary plants, acting as nurses, serve not only to promote the growth 

 of the permanent plants, but also to cover the ground and relieve 

 the monotony of low planting. Groups of trees on artificial or 

 natural eminences should be most carefully selected in regard to the 

 height of their ultimate growth, as well as their outline form at 

 maturity, their juxtaposition, and the contrasts so to be created in 

 enhancement of their beauty, not only as individual specimens, but 

 as component features of the group in which every part has relation 

 to the whole. One paramount use of planting is to hide what may 

 be unsightly or incongruous in a prospect; or, by a well -arranged 

 break in the procession of trees, to admit some beautiful view, or 

 some appropriate object, such as a church spire, or a glimpse of 

 water, to the vision of the spectator at a particular point where the 

 picture presented may be most grateful. Such a picture may be, 

 as it were, framed in the grand forms of the foreground trees. A 

 most important use of trees in the general design is to connect the 

 different parts of it, by continuity of planting and by repetition of 

 tint and form. 



In planting a great place there should be a distinctly apparent 

 difference between the garden, or the enclosed space round the 

 house, and the ground beyond that stretches into the park. The 



