300 On planting mid laying oat Grounds 



kind of mole-trap ; which, I am of opinion, would require so 

 large an opening, to allow it a chance of catching both ways, 

 as to occasion great inconvenience, and render it of but 

 trifling use. My traps might be made by gardeners them- 

 selves, in bad weather, when little else could be done. The 

 materials of each trap did not cost above 3d. in Aberdeen- 

 shire. I am, Sir, yours, &c. 



Kensington, April 24. 1832. A. F. 



We have had one of these very superior traps made under 

 the direction of A. F., and we have sent it to Messrs. Cottam 

 and Hallen, Winsley Street, Oxford Street, who will supply 

 them to the public at Is. each. — Cond. 



Art. VIII. On planting and laying out Grounds. By M. Herman 

 Knoop Klinton, Landscape-Gardener, Ghent. 



(Continued from Vol. VII. p. 561.) 



" We must remove those ash trees," said my employer; 

 " because they are out of all proportion to the oak and elm." 

 This, you will recollect, was the ipse dixit of my worthy 

 patron, the burgomaster of Haarlem ; and I promised to tell 

 you how I prevailed on him to let them remain, in spite of 

 his notions of proportion. " What you say would be very 

 true," said I, " if trees were architectural columns ; but, as 

 they are only trees, we must have recourse to the landscape- 

 painters of Italy, rather than to Vitruvius." " Why the land- 

 scape-painters of Italy ? " said the burgomaster. " Why 

 Vitruvius ?" said I. We agreed, that if Vitruvius was entitled 

 to be considered an authority in architecture, the landscape- 

 painters of Italy were entitled to be considered as authorities 

 in landscape-painting. 



My next step was to convince my patron, that the beauties 

 of landscape-painting might be referred to as a test of the 

 higher beauties of landscape-gardening. This was not so 

 easily done. " What is there in the rough foregrounds, 

 rugged trees, broken branches, and objects in a state of de- 

 cay, in pictures, which can apply to a garden and grounds?" 

 said my employer. This, I confess was rather a home-thrust 

 (grand coup) ; but I began, as usual, by agreeing that to 

 a certain extent he was right. " But," says I, " the rough 

 foreground, rugged trees, &c, are only inferior details, or 

 subordinate means of the artist, for the production of certain 



