CHAPTER VII. 



THE SENTIMENTAL, LANDSCAPE, AND PARK SCHOOLS OF GARDEN- 

 ING, FOUNDED UPON PAINTING; AND THE CHINESE AND 

 ENGLISH 'NATURAL' STYLES IN THE SECOND HALF OF THE 

 EIGHTEENTH CENTURY. 



HENRY 'HpHE emotions raised by the fine arts, are generally too nearly 

 LORI?' related to make a figure by resemblance; and for that 



KAMES reason their succession ought to be regulated as much as possible 

 (1696-1782). by contrast. ... In gardening there is an additional reason for 

 the rule : the emotions raised by that art are at best so faint, that 

 every artifice should be used to give them their utmost strength : 

 a field may be laid out in grand, sweet, gay, neat, wild, melancholy 

 scenes ; and when these are viewed in succession, grandeur ought 

 to be contrasted with neatness, regularity with wildness, and gaiety 

 with melancholy, so as that each emotion may succeed its opposite : 

 nay it is an improvement to intermix in the succession, rude, un- 

 cultivated spots as well as unbounded views, which in themselves 

 are disagreeable, but in succession heighten the feeling of the agree- 

 able objects ; and we have nature for our guide, who in her most 

 beautiful landscapes often intermixes rugged rocks, dirty marshes, 

 and barren stony heaths. Elements of Criticism. (Resemblance 

 and Contrast?) 



Gardening, besides the emotions of beauty by means of 

 regularity, order, proportion, colour, and utility, can raise 

 emotions of grandeur, of sweetness, of gaiety, melancholy, wild- 

 ness, and even of surprise or wonder. ... In gardening as well 

 as in architecture simplicity ought to be the governing taste. 

 Profuse ornament hath no better effect than to confound the eye, 

 and to prevent the object from making an impression as one 

 entire whole. . . . 

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