88 Prince PucJder Muskau's 



of philosophy. In landscape-gardening, the word idea is generally used in its 

 most extensive meaning ; viz. that from the whole of nature's landscape the 

 idea of a concentrated picture is formed ; a picture such as that a poet fancies ; 

 that this idea is such as would give existence to a work of art in another 

 sphere, and from which man himself frames a kind of microcosm, a world in 

 miniature. A large undertaking should, consequently, as much as possible be 

 begun, directed, and finished by one experienced hand. The ideas of another, 

 it is true, might be used ; but they must be so acted upon that they may com- 

 bine in forming a whole. I shall, perhaps, be better understood when I say 

 that a fundamental idea refers to the whole ; that no important work should 

 ever be done at random, but should proceed from one leading principle, 

 which should be observable in every part of it, whether taken separately or 

 together. This original idea, or plan, may arise from the particular condition 

 of the artist, from the circumstances of his life, or from family legends, as well 

 as from the particular locality in which he lives ; but I by no means wish that 

 every part of the plan, as originally conceived, should always be adopted and 

 strictly followed up ; in certain circumstances, I should recommend quite the 

 conti'ary : because, although the whole thing may be arranged, the artist is 

 not obliged to follow the first dictates of his fancy. New ones may spring up ; 

 the subject is ever creating something new : for instance, nature in its primi- 

 tive state, lying before him in various degrees of light (because, as a beautiful 

 comparison, light is his principal material), is observed by him in the circle of 

 his small creation ; he studies cause and effect ; and then the original general 

 idea directs the manner in which they may be combined, or is entirely given 

 up if a better thought strikes him. The painter, also, occasionally deviates 

 from his first plan, and continually touches up his picture without ever making 

 it perfect ; parts are altered to make it look better or more natural ; a shadow 

 is strengthened, or more effect is given to a line : how, then, can a landscape- 

 gardener be expected to make a thing perfect at first, who has often such per- 

 verse and difficult materials to work upon ? 



" ' I know nothing so much to be lamented as when a thing has been badly 

 done, and not undone, if afterwards a better idea has arisen : it remains a 

 blemish to the whole ; and, though it may occasion regret that the cost of 

 forming it should be quite thrown away, the fear of wasting a trifle should not 

 be suffered to destroy the effect of the whole. Indulgence should be granted 

 to the progress of every art, because frequently, from want of money, the im- 

 provement of the old is preferred to a totally new arrangement.' 



" At p. 18. the author treats of the mode of executing plans and maps 

 without a knowledge of the neighbourhood and locality ; on which subject we 

 perfectly agree with him. He says as follows : — 



" ' It may, therefore, easily be seen how useless it must be to send for a 

 draughtsman from a distance to stay a day, a week, or even a month, to make 

 a plan. of a road or plantation which is well known already ; though nothing 

 is more common than for a landscape-gardener to set about making a plan for 

 laying out grounds, without obtaining the necessary information, without any 

 knowledge of the locality, of the near and distant views, or of the effect of hill 

 and dale, and of high trees and low ones, in the intermediate distance, and 

 also at the greatest distance. Plans thus designed may look exceedingly well 

 on paper ; but, when they are executed, they generally produce an effect that is 

 extremely pitiable, fiat, unsuitable, unnatural, and unexpected. Whoever 

 wishes to make a proper plan for laying out grounds, cannot be too well 

 acquainted with the locality; and he must also understand the staking out 

 and the execution of it extremely well ; because, if he does not, he will find 

 that the materials he has to work with are quite different from those of the 

 painter on canvass. The beauty of a real landscape may in some degree be 

 known by looking at a very good painting ; but it is not so with a plan ; and I 

 can confidently assert, that (except in a very flat situation, where there are no 

 distant prospects, and which, therefore, is a place that nothing can be made 

 of) a plan which looks exceedingly well on paper can never produce anything 



