THE "LANDSCAPE-GARDEN." 113 



nothing ! The other begins with fetching back the 

 chaos of a former world, and has for its category of 

 effects, sham primaevalisms, exaggerated wildness, 

 tortured levellings, cascades, rocks, dead trunks of 

 trees, ruined castles, lakes on the tops of hills, 'and 

 sheep-runs hard by your windows. One school 

 cannot keep the snip of the scissors off tree and 

 shrub, the other mimics Nature's fortuitous wild- 

 ness in proof of his disdain for the white lies of 

 Art. 



And all goes to show, does it not? that inasmuch 

 as the art of gardening implies craft, and as man's 

 imitation of Nature is bound to be unlike Nature, it 

 were wise to be frankly inventive in gardening on 

 Art lines. Success may attend one's efforts in the 

 direction of Art, but in the direction of Nature, 

 never. 



The smooth, bare, and almost bald appearance 

 which characterises Brown and Kent's school fails 

 to satisfy for long, and there springs up another 

 school which deals largely in picturesque elements, 

 and rough intricate effects. The principles of the 

 " Picturesque School," as it was called, are to be 

 found in the writings of the Rev. William Gilpin and 

 Sir Uvedale Price. Their books are full of careful 

 observations upon the general composition of land- 

 scape-scenery, and what was then called "Landscape 

 Architecture," as though every English building of 

 older days that was worth a glance had not been 

 " Landscape Architecture " fit for its site ! Gilpin's 

 writings contain an admirable discourse upon 



