General Notices. 475 



in others, as the form, which we shall hereafter more fully elucidate. In the 

 views from a dwelling, we produce it by contrasts not so powerful as to be 

 absolutely dissimilar, for this would defeat the purpose, and produce discord ; 

 but by retaining the unity of design, and varying partially only the materials 

 employed, as in the case of substituting elegant flowering shrubs and climbers, 

 in the place of trees, or, sometimes, by introducing new elements of beauty, as 

 sculptured vases, sun-dials, fountains, &c. In pleasure-grounds, while the 

 whole should exhibit unity of conception and plan, the different scenes pre- 

 sented to the eye, one after the other, should possess sufficient variety in the 

 detail, to keep alive the interest of the spectator, and awaken further curiosity. 



" In this brief abstract of the nature of imitation in landscape-gardening, 

 and the kinds of beauty which it is possible to produce by means of the art, 

 we have endeavoured to elucidate its leading principles clearly to the reader. 

 These grand principles we shall here succinctly recapitulate, premising that a 

 familiarity with them is of the very first importance in the successful practice 

 of this elegant art ; viz. 1. The Recognition of Art, founded on the im- 

 mutability of the true as well as the beautiful : 2. The Production of a 

 Whole, springing from the necessity in the mind of a unity of sensation : 

 3. The Imitation of the Beauty of Expression, derived from a refined 

 perception of the sentiment of nature : 4. The Production of Variety, in- 

 cluding under this term intricacy and harmony, founded on the ever active 

 desire for new objects of interest. 



" Neither the professional landscape-gardener nor the amateur can hope 

 for much success in realising the nobler effects of the art, unless he first make 

 himself master of the natural character, or prevailing expression, of the place 

 to be improved. In this nice perception, at a glance, of the natural expres- 

 sion, as well as the capabilities, of a residence, lies the secret of the superior 

 results produced by the improver, who, to use the words of Horace Walpole, 

 ' is proud of no other art than that of softening nature's harshness, and copy- 

 ing her graceful touch.' When we discover the picturesque indicated in the 

 grounds of the residence to be treated, let us take advantage of it ; and, while 

 all harshness incompatible with scenery near the house is removed, the origi- 

 nal expression may, in most cases, be heightened, in all rendered more elegant 

 and appropriate, without lowering it in force or spirit. In like manner, good 

 taste will direct us to embellish scenery expressive o£ simple or natural beauty, 

 by the addition of forms, whether in trees, buildings, or other objects, harmo- 

 nious in character, as well as in colour and outline." 



We have quoted largely from this work, because, in so doing, we think we 

 shall give a just idea of the great merit of the author, instruct our readers 

 without doing him any injury, and give a very favourable idea of the progress 

 of taste among our Transatlantic brethren. 



MISCELLANEOUS INTELLIGENCE. 



Art. I. General Notices. 



To destroy Caterpillars. — A gardener at Glasgow practises a mode of de- 

 stroying caterpillars, which he discovered by accident. A piece of woollen 

 rag had been blown by the wind into a currant bush, and when taken out was 

 found covered by the leaf-devouring insects. He immediately placed pieces of 

 woollen cloth in every bush in his garden, and found next day that the cater- 

 pillars had universally taken to them for shelter. In this way he destroyed 

 many thousands every morning. {Aiinual Register, 1812, p. 46.) 



Wire-Worms. — The most effectual mode of destruction is that adopted by 

 Mr. Pearce of Pennare Goran, who, in 1838, having had three acres of wheat 

 completely destroyed by the wire-worm, followed with turnips, and finding 



