ON WOOD AND PLANTATIONS. 87 



spectator at first sight, this is the misplaced introduction of the 

 two large willows, which belong to a scene very different in 

 character. Imagine a removal of the 

 ^^3ir'^^!d^^iirf^^% surrounding hills, and let the rapid 

 I stream spread out into a smooth 

 peaceful lake, with gradually retiring 

 (Fig. 16. TrleTTi^oJ^cHiMs.] shorcs, and the blue summits in the 

 distance, and then the willows will harmonize admirably. 



Having now described the peculiar characteristics of these 

 different classes, of round-headed, spiry-topped, oblong, and 

 drooping trees, we should consider the proper method by 

 which a harmonious combination of the different forms com- 

 posing them may be made, so as not to violate correct princi- 

 ples of taste. An indiscriminate mixture of their different 

 forms would, it is evident, produce anything but an agree- 

 able effect. For example, let a person plant together in a 

 group three trees of totally opposite forms and expressions, 

 viz : a weeping willow, an oak, and a poplar ; and the expres- 

 sion of the whole would be destroyed by this confusion re- 

 sultinsr from their discordant forms. On the other hand, the 

 mixture of trees that exactly correspond in their forms, if 

 these forms, as in oblong or drooping trees, are similar, will 

 infallibly create sameness. In order then to produce beauti- 

 ful variety, which shall neither on the one side run into con- 

 fusion, nor on the other, verge into monotony, it is re- 

 quisite to give some little attention to the harmony of form 

 and colour in the composition of trees in artificial planta- 

 tions. 



The only rules which we can suggest to govern the planter 

 are these : First, if a certain leading expression is desired in 

 a group of trees, together with as great a variety as possible, 



