General Principles loi 



that imparts beauty of form to human beings and animals; it 

 is indefinite, and awakens the idea of infinity, with its exhaust- 

 less stores for the imagination; and it is of the commonest 

 occurrence in natural scenery. Hence, it may fairly be 

 invested with the palm. 



Beauty of form, in a work of art, is of a superior order to 

 beauty of color or embellishment. It betokens a deeper 

 acquaintance with principles, a higher refinement, a finer- 

 toned feeling. Colors are mere adventitious aids, and are 

 always liable to fade or change, while floridness of ornament 

 simply pleases the fancy, but rarely satisfies the mind, and 

 soon satiates. Beauty of form is the most enduring. 



The influence of this rule on all the adjuncts of gardening 

 cannot be over-rated. It will affect the shape of the ground, 

 the direction or curves and levels of the walks, the position 

 and outlines of all the clumps and beds, and every* sort of 

 ornament that can be conceived of. It will be far more 

 significant than mere costliness or elaboration or ingenuity. 

 And it will extend as much to the proportions of a plate as 

 to its individual elements. 



Beauty of tint or tone, though inferior to that of form, is 

 what must never be thrown entirely into the shade. Delicate 

 colors are intrinsically the most beautiful. Shades of pink, 

 or mixtures of pink and white, light blues, pale greens, straw- 

 colored yellows, the softest tones of crimson and ^■ermilion, 

 are the most expressive of beauty. All stronger colors may 

 be rich, showy, and valuable in contrast, but they are less 

 positively beautiful. None of them need be kept out of a 

 place, though the above hints will be suggestive of what is 

 most desirable, where the highest beauty is sought, and they 

 may denote the colors which should be selected in painting 

 either the exterior or the interior of buildings, fences, etc. 



Nor do I seek at all to decry beauty of ornament and 



