Observations on Landscape-Gardening. 91 



in the best manner; and, also, the errors enumerated that are committed in the 

 distribution of them in large pleasure-grounds. At p. 36. the author says, — 



"'In almost every landscape, great or small, a judicious grouping is highly 

 necessary. Natural taste, however, is a very great assistance; and, though I shall 

 hereafter give directions for the detail, the following observations may be con- 

 sidered as a general introduction : — Light and shade are every where distributed 

 in a picture ; it ought to be so also in grouping in masses. The grass, water, 

 and level ground throw no shadow, but rather take it from other objects, and 

 are themselves used as lights by the landscape-gardener. Trees, forests, and 

 houses, on the contrary (and also rocks, where they can be found), produce 

 his shades. The disagreeable effect should be avoided of what is abrupt and 

 unconnected, amongst so many varied objects, in an interrupted light; and 

 almost all the other side should be darkened by an enormous shade. Let a part 

 of the meadow and water be seen, to its full extent, in a free and open space ; 

 but arrange it so that they may be here and there lost in the shade of vege- 

 tation ; or, like a well-managed light, let them suddenly emerge as if from the 

 dark ground. Buildings should not be entirely seen, but should be treated in 

 the same way as objects on which nature has not been too lavish. Whatever 

 is half exposed, has its beauties increased by something being left for the fancy 

 to guess at. The eye often dwells with more pleasure on a mere chimney in 

 a distance, with its grey cloud of smoke arising from amidst the trees of an 

 ancient forest, than on a naked palace, which is accessible on all sides ; where 

 no animating variety presents itself, and where nature nowhere secretly and 

 delightfully insinuates her charms. 



" ' It is highly necessary that the buildings should be always in character with 

 the landscape that surrounds them. Many of our German architects pay too 

 little attention to this rule. Buildings, in a city, require quite a different style 

 from those in a park : the one produces its effect by itself alone ; while the 

 other both gives effect to the other parts of the scenery, and receives from 

 them a picturesqueness which alters its original character, and thus makes it 

 form a part of the whole. The near and distant prospect of such a building 

 should, therefore, be carefully attended to ; and its relative, as well as its imme- 

 diate, effect should be fully considered. In general, park buildings should be 

 rather irregularly built, as they thus become more picturesque, and, conse- 

 quently, harmonise better with the natural objects around them. A sacred 

 temple, a theatre, or a museum, in which art is displayed, should, undoubtedly, 

 be symmetrical, and in a pure state of art ; but the mansion, or country seat, 

 should be constructed for convenience, as well as for exterior effect, 



" * The situation selected for a building ought to be particularly attended to ; 

 viz. a nobleman's house in the middle of a corn field, as at Washern, near 

 Leipzig, is almost ridiculous ; so is, also, an Egyptian pyramid in a beautiful 

 birch forest and romantic scenery, or surrounded by a French parterre. 

 Every thing that is incongruous disturbs the harmony produced by judicious 

 contrasts. The pointed Gothic style of architecture has also a very bad effect 

 amongst tapering pines and Lombardy poplars; but, among ancient undulating 

 oaks, beeches, and spreading firs, it would be exactly in its proper place. 

 Those pines and poplars belong, on the contrary, to an Italian villa, to which 

 they are suitable, on account of the contrast they afford to its horizontal lines. 



" ' If the beauty of harmony is particularly desired, it should also be shown 

 by the suitableness of the construction to the purposes which the building is 

 intended for. A Gothic house, for instance, without a reason for making it so, 

 but merely because something Gothic was wished for, occasions an unpleasant 

 feeling. It is unnecessary and unsuitable as a dwelling-house; and, as a mere 

 decoration, it has no connexion with any thing around it, there seems no suffi- 

 cient reason for having it there: when, however, the tower of a Gothic chapel is 

 seen on a distant mountain, rising from amongst the tops of old trees ; and when 

 you learn that it has been a family burial-place, or, perhaps, a frequented tem- 

 ple, consecrated to sacred worship; you will feel satisfied, because the situation 

 and scenery are suitable. 



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