6(34 Remarlis on laying oiit 



for nature itself; and though they might, and doubtless would, 

 afford pleasure in themselves, and as contrasted with the scenery 

 around them; yet that pleasure could in no respect be considered 

 as resulting from them as works of art; unless we were told 

 that they were artificial creations. 



Artistical Imitation of Natural Scenery, or, in other words, 

 natural scenery, imitated according to art, is the legitimate pro- 

 vince of landscape-gardening; and it includes two modes of 

 imitating nature : the one the picturesque, or nature in a wild 

 state; and the other the gardenesque, or nature subjected to a 

 certain degree of cultivation, or improvement, suitable to the 

 wants and wishes of man. To design and execute a scene 

 in either of these styles of art, the artist would require to 

 have the eye of a landscape-painter ; to a certain extent, the 

 science of an architect and of a botanist; and the knowledge 

 of a horticulturist. Every part of nature, whether rude or re- 

 fined, may be imitated according to art. For example, the 

 gravel pit would be improved according to art, if foreign trees, 

 shrubs, and plants, even to the grasses, were introduced instead 

 of indigenous ones ; and a Swiss cottage, or an architectural 

 cottage of any kind, that would not be recognised as the com- 

 mon cottage of the country, substituted for the hovel. To 

 complete the character of art, the walk should be formed and 

 gravelled at least to such an extent as to prevent its being mis- 

 taken for a natural path. Rocky scenery, aquatic scenery, 

 dale or dingle scenery, forest scenery, copse scenery, and 

 open glade scenery, may all be imitated on the same prin- 

 ciple ; viz. that of substituting foreign for indigenous vege- 

 tation, and laying out regular walks. This is sufficient to con- 

 stitute a ■picturesque imitation of natural scenery. 



Where the gardenesque style of imitating nature is to be 

 employed, the trees and herbaceous plants must be separated; 

 and, instead of being grouped together as in forest scenery, 

 where two trees, or a tree and a shrub, often appear to spring 

 from the same root, every gardenesque gi'oup must consist of 

 trees which do not touch each other, and which only become 

 groups by being as near together as is practicable without touch- 

 ing, and by being apart from larger masses, or from single trees 

 or rows of trees. It is not meant by this, that in the gardenesque 

 the trees composing a group should all be equally distant from 

 one another ; for in that case they would not form a whole, 

 which the word group always implies. On the contrar}', though 

 all the trees in a gardenesque group ought to be so far separated 

 from each other as not to touch, yet the degrees of separation 

 may be as different as the designer chooses, provided the idea 

 of a group is not lost sight of. 



Tn laying out grounds, or in criticising such as are already 



