402 LANDSCAPE GARDENING. 



In addition to this, there is great danger that a mere lover 

 of fine vases may run into the error of assembling these 

 objects indiscriminately in different parts of his grounds, 

 where they have really no place, but interfere with the quiet 

 character of surrounding nature. He may overload the 

 grounds with an unmeaning distribution of sculpturesque or 

 artificial forms, instead of working up those parts where art 

 predominates in such a manner.jDy means of appropriate dec- 

 orations, as to heighten by contrast, the beauty of the whole 

 adjacent landscape. 



With regard to pavilions, summer-houses, rustic seats, and 

 garden edifices of like character, they should, if possible, in 

 all cases be introduced when they are manifestly appropri- 

 ate or in harmony with the scene. Thus a grotto should 

 not be formed in the side of an open bank, but in a deep 

 shadowy recess; a classic temple or pavilion may crown 

 a beautiful and prominent knoll, and a rustic covered seat 

 may occupy a secluded, quiet portion of the grounds, where 

 undisturbed meditation may be enjoyed. As our favourite 

 Delille says : 



" Sachez ce qui convient ou nuit au caractere. 

 Un reduit ecarle. dans un lieu solitaire, 

 Peint mieux la solitude encore et I'abandon. 

 Montrez-vous done fideie k chaque expression ; 

 N'allez pas au grand jour offrir un ermitage : 

 Ne cachez point un temple au fond d'un bois sauvage." 



Les Jardins. 



Or if certain objects are unavoidably placed in situations 

 of inimical expression, the artist should labour to alter the 

 character of the locality. How much this can be done by the 

 proper choice of trees and shrubs, and the proper arrange- 



