i66 



Lajidscape-Gardening, 



Fitis riparia, hills. 

 Fitis cordifolia, alluv. s. 

 Fitis aestivalis, alluv. s. 

 Fids iabrusca, alluv. s. 

 Hydrangea vulgaris, alluv. s. 

 Hydrangea (/uercifolia, alluv. s. 

 lUicium floridanum, alluv. s. 

 Illicium parviflorum, alluv. s. 

 Kalmia latifolia, alluv. s. 

 Kalmia angustifolia, alluv. s. 

 Kalmja hirsuta, marshy s. 

 iaurus Sassafras, var. s. 

 Liriodendron tulipiiera, alluv. s, 

 Lonicera sempervirens, alluv. s, 

 Magnolia grandiflora, hills. 

 Magnolia glauca, alluv. s. 



Magnolia acuminata, alluv. s. 

 Magnolia tripetala, hills. 

 Magnolia macrophylla, hills. 

 Magnolia cordata, hills. 

 OMea americana, alluv. s. 

 Primus caroliniana, alluv. s. 

 Primus virginiana, alluv. s. 

 Prunus hirsuta, alluv. s. 

 Prunus uinbellata, alluv. s. 

 Prunus chicasa, alluv. s. 

 ?7'lmus americana, marshy s. 

 t/'lmus fulva, alluv. s. 

 f/'lmus alata, alluv. s. 

 Yucca gloriosa, hills. 

 Yucca filamentosa, hills. 



I am. Sir, &c. 



A. Gordon.' 



Art. VIII. Ofi Landscape-Gardenhig, as a Part of the Study 

 and Busi7iess of Practical Gardeners. By a Landscape- 



Garde ner. 



{Continued from p. J34.) 



Then commenced the arts of peace ; the remembrance of 

 patriarchs, heroes, and benefactors of the human race, was 

 perpetuated by rude hieroglyphics, by the pencil, or the chisel. 

 Human virtues, or supernatural powers, were personated by 

 ideal representations. In these dawnings of art, imagination 

 was employed as an auxiliary of the artist; proportion was 

 necessarily studied ; beauty of forms and outline was regarded ; 

 and the flowing lines of nature were copied, to decorate plas- 

 tic, sculptured, or painted compositions. ■ 



From the representation of persons, virtues, or imaginary 

 powers, the progress was easy to that of depicting the favourite 

 scenes of champaign nature. In this effort, the artist's execu- 

 tion was guided, and in some degree directed, by the effect 

 which might flow from his pencil in the drawing and finishing 

 of his picture. He soon found that he could not make a 

 pleasing piece, unless be had a strongly marked foreground, 

 an interesting middle distance, and a harmonious off-scape. 

 He felt, too, that his colours required to be properly blended, 

 and his lights and shadows properly balanced : the sky must 

 be reflected by a mirror of water, to double his objects, and 

 give a harmonious tone to the piece. He also found that 

 purely natural scenes were easier imitated than those which 

 had received any impressions from art ; because the play of 



