LANDSCAPE GARDENING. 



555 



famy. different shades of yellow and green on the trees and 

 ~ " ' ground. 3. As to the lipht, we find one large and 

 principal light near the middle of the view, diverging 

 into shade as it approaches the sides ; the clearest part 

 is the water, and the next clearest the building, and 

 the third light spreads over a broad space of ground, 

 near the water. The groups in the foreground, are all 

 in a deep shadow. One of these, near the water, par- 

 takes of the principal light, and those in the third dis- 

 tance are distinguished by a sort of neutralization of 

 light, colour, and shade. Such is the disposition of the 

 groups or parts, in order, in a complex view of the 

 whole, to fix the eye, and prevent it from being dis- 

 tracted by scattered lights, confusion of forms, and in- 

 harmonious colour*. 



neetion. 4. We shall next remark the connection which sub- 

 sists between these different groups. 1. They are con- 

 nected in each distance by a real nearness of situation; 

 and, '2. In the view as a whole, from the one group 

 coming in part before the other, so as to produce con- 

 nection by apparent prorimiltf. Suppose the reverse to be 

 the case, and that the 1 groups were unconnected either 



by real or apparent distance of situation, the conse- 

 quence would be, that each group being surrounded 

 by light, would become a distinct object. The eye 

 would have no resting place, and the assemblage would 

 compote a whole. 



\Vliat come* next to be examined, is the relation 

 which lubsists between the parts composing each indi- 

 vidual group. 1. In regard to the form of the parts of 

 rach group, as they are all groups of the same sort of 

 tree, we find one elementary form prevalent, but differ- 

 ing in magnitude, and in combination, by their con- 

 trasted disposition, to such a degree, that each group 

 differs in form from the others, without at the ttmn 

 time being of opposite forms. 



2. In regard to colour, the same kind of colour pre- 

 vails in each and in all ot'the groups, but is varied in de- 

 gree by the same contrasted disposition. In some parts 

 a yellowish green prevails, in others a greenish yellow, 

 in others ru:-$et or red green, and occasionally a bright 

 green, as on that part of the turf where the light strikes 

 with the greatest force. 



S. In regard to light and thadr, those parts of the 

 groups which rise above the horizon, and are backed by 

 the sky, are dark, and generally darker than such as are 

 backed by the ground, or by other adjoining groups. 

 The prominent parts of each group, are lighter than 

 the retiring parts or recesses among the spray and 

 leaves. These prominent and retiring parts, in the near 

 groups, are very numerous ; in the distance they are 

 tost in the general a-ril shade of the group. It may 

 be observed as general principle, that trees, from 

 their rough surfer, and consequent imperfect reflection 

 of light, are always comparatively darker than water, 

 buildings, or ground. In creating real landscape, they 

 serve in some measure as shades, as the other materials 

 mentioned serve as lights. 



We have said nothing of the sky, the cows, and 

 sheep. Suppose, then, in order to complete this sketch, 

 that we represent the sky as merely grey and cloudy, 

 and the cattle and sheep grouped in the middle dis- 

 . what will be the expression of the view > We 

 think it would express very little to general observers; 

 hut then- being nothing glaringly offensive in the ar- 

 rangemer.t, it would be expressive of some beauty to 

 him who had bestowed some attention to the subject of 

 andsrapcc; for .though it exhibits but little harmony 

 of forms and colours, light or shade, it still possesses 



enough of these' ingredients to render it worth looking 

 at as a picturesque view. 



It remains to account for the general or natural 

 expression of melancholy and grandeur. For this 

 purpose let the building be the ruins of an ancient 

 castle, whose lofty quadrangular form may be readily 

 imagined from the walls we mentioned, as composing 

 the ruined building. 



The character of grandeur, then, is not in this in- 

 stance communicated to the picture, by the picturesque 

 effect of the walls, which have no variety of form, light, 

 or shade, in themselves, but by the mental associations 

 to which they give rise in a cultivated mind. 



It will not be supposed from this, that we mean to 

 recommend the introduction of artificial ruins in im- 

 proved scenes, we have merely made choice of this ex- 

 pression, as very obviously pointing out the distinction 

 between picturesque and poetic or general beauty. We 

 shall add a few other examples. 



I. Imagine the cattle and sheep removed, the surface 

 of the ground covered by smoothly mown turf, and 

 the luxuriant branches of some of the fore ground trees 

 nearly reclining on the ground. The first expression 

 would be that of beautiful, or elegant picturesque ; the 

 next that of stillness, and consecration to man, still- 

 ness, as being without animals, or moving objects ; and 

 consecration to man, from the mown surface, greatly 

 heightened by the circumstance of the branches of 

 trees reclining on the ground, which never can happen 

 where sheep or cattle are admitted, and which forms 

 the leading visible distinction between a group of trees 

 in a park, and a group on a mown lawn. It is not 

 from the smoothness of the turf, or any particular mix- 

 ture of light and shade in the reclining branches, that 

 this expression is produced, but from reflecting on the 

 cause of this appearance. 



2. Imagine, instead of the smooth turf, uncouth rough 

 ground, covered in some places with furze, briars, bram- 

 bles, and tangled thickets ; the water fringed with rush- 

 es, and partially concealed by aquatic shrubs; and wild 

 bones and deer forming the animated part of the scene. 

 The expression would be eminently picturesque; but 

 there would also be an expression of wildness, not re- 

 sulting from the picturesque qualities as such, but from 

 mental reflection on the difference between this scene 

 and one of cultivation. 



3. Imagine the view deprived of the lake and the 

 building, and consisting only of the wood and ground, 

 with the heads of a straggling row of willow trees ap- 

 pearing in the middle distance, and the sound of a dis- 

 tant waterfall heard through the trees. Here to pictu- 

 resque beauty we have an idea of water of an immense 

 body of it in the lake or river which supplies the water- 

 falland of the rocks, which oppose their powerful ob- 

 struction to a body of water. The reader will here re- 

 mark, how much of the sublime beauty of this scene de- 

 pends on sound, which can never be included under pic- 

 turesque beauty. The leading expression is that of su- 

 blimity, accompanied by various associations of digni- 

 ty produced by the rocks, and of grandeur suggested 

 by the stream, after the waters have renewed their 

 tranquil course, and rolling, as we may imagine, ma- 

 jestically along under the shade of the line of willow 

 UTC-. 



Other examples of a more striking nature might be 

 adduced ; but these instances we consider sufficient to 

 shew the difference between a composition merely pic- 

 turesque, and one expressive of general or natural beau- 

 ty, and to prove our position, that both poetry and 



Histoiy. 



