Garden Architecture, and Hints on Landscape Gardening. 207 



GARDEN ARCHITECTURE, AND HINTS ON LANDSCAPE 



GARDENING. 



In treating of architectural gardening, it may be expected, that, at the 

 commencement, some allusion should be made to the general principles 

 of design. 



The principles governing all design are unity, that is to say breadth^ 

 and INTRICACY, that is to say variety^ including contrast. The former 

 governs the whole scope of the design : the latter supplies the details. 

 The influence of the one may be seen in works distinguished by their 

 GRANDEUR and REPOSE ; the charm of the latter, in the combinations which 

 produce picturesqueness and cheerfulness. 



To know exactly how far to allow either breadth or variety to give 

 its especial character to a composition is the great secret of successful 

 design. There must be a proportion, and yet a preponderance ; enough 

 breadth to secure rejoose, enough variety to insure interest without creating 

 confusion. In short, breadth must be so produced as to allow the aid of 

 variety; while variety itself, to be pleasing, should be treated in a broad 

 manner. 



A few diagrams will serve to show how the principle of breadth applies 

 to garden design, including the architectural features of terraces, which 

 are introduced, not as garden architecture, but simply for the purpose of 

 illustrating principles. 



If any reader should have difficulty in understanding what, after all, is 

 really meant by breadth, let him look out of a closed French casement at 

 any object whatever, taking care to place himself opposite the centre of 

 the window : he will then see the view cut into halves ; or, in other words, 

 that all breadth is destroyed. He will not know on which half of the view 

 to fix his attention, and will instinctively change his position until he sees 

 without obstruction all he desires. 



It may seem paradoxical, but it is none the less true, that, under certain 

 conditions, breadth may be destroyed by the very absence of a central 

 object. 



