124 Desig7ijbr the Pleasure-Grounds, 



for plans of gardens. We publish it, not only on account of its 

 intrinsic worth, but to second the views of the Dumfries Hor- 

 ticultural Society, in encouraging young gardeners to think, 

 contrive, and to embody their thoughts and schemes, both by 

 delineations and descriptions. We also think that we can, at 

 the same time, render service both to the author of the plan, 

 and to our readers generally, by the remarks which we shall 

 make upon it. 



Instead of simply stating the fact, that we approve and com- 

 mend Mr. Dargavell's design, which might encourage him, 

 without doing him any positive good, we shall endeavour to lay 

 down some of the principles of criticism by which such plans as 

 that before us ought to be analysed, and state our reasons for 

 approval. 



In the composition of a plan, as in that of a picture, a piece 

 of music, a poem, a discourse, or, in short, anything that is to 

 form a whole, there are certain principles common to the art 

 of composition, and certain rules derived from these principles, 

 which belong to each particular art. For example, a universal 

 principle is, that all the parts of a composition should unite in 

 forming a whole ; and a rule applicable to the plans of kitchen- 

 gardens is, that the walls, walks, and the borders of the bound- 

 aries and compartments, should be straight lines. W^e state this 

 to show the difference between a principle and a rule. The rule 

 admits of exceptions ; for a kitchen-garden may sometimes, from 

 necessity, have a circular or curved wall : and this would involve 

 curved lines in some of the borders and walks. A principle, 

 however, admits of no exceptions; for, whatever lines may be 

 employed in the composition of a garden, they must unite in 

 forming a whole. Now, there is not a single part of any plan 

 or composition, however small or trifling it may seem to be, 

 which cannot be either justified or condemned by a reference to 

 principles and rules, with as great certainty as the nouns, verbs, 

 prepositions, articles, &c., in a sentence can each be justified or 

 condemned by the laws and rules of grammar. All the differ- 

 ence is, that the principles and rules of grammar are universally 

 known, because universally required for the purposes of human 

 intercourse; while those of composition in the arts of design are 

 known imperfectly and partially, owing to the limited demand 

 for works of art. Let no one, therefore, imagine, when we 

 approve of, or find fault with, a design, that it is merely a mat- 

 ter of taste. The taste of a design, or a discourse, is quite a 

 different thing from its correctness with reference to principles. 

 A garden might be designed in strict accordance with the prin- 

 ciples and rules which are approved of by mankind generally, 

 and yet not so as to suit the taste of an individual. In that case, 

 no fault is to be found with the artist by any one but by his 



