354< SckeU's Landsca])c- Gardening. 



Pliny, has its advantages, and ought not, therefore, to be entirely 

 set aside. 



Majestic avenues, when laid out in the spirit of Le Notre, in 

 large proportions, in populous cities, for public promenades, in 

 which an artistical and suitable uniformity is preserved ; or those 

 forming an approach to a palace, not only present an imposing 

 scene of splendour and luxury, but constitute a part of the lordly 

 domain which the inhabitant devotes to the exercise and social 

 intercourse of his guests. Thus, the pedestrian may walk about 

 as he pleases in such long unvaried avenues without the ne- 

 cessity of turning his eyes to either side, which he is generally 

 tempted to do in the case of serpentine walks, and by this means 

 loses the aspect of the assembled whole. 



4. The geometric style of gardening is also of unavoidable 

 application in botanic gardens, nurseries, in flower and kitchen- 

 gardens, and in orchards. Regular forms only are applicable 

 for such gardens, because they only are generally suitable for 

 their object. 



5. In other respects, it is scarcely credible how such a taste 

 in gardening, which displayed so many trifling and unnatural 

 forms, could have existed, and be even followed and admired for 

 centuries. How is it possible that the educated man could so 

 long cherish and applaud this artistical style of gardening, on 

 comparing it with nature to which it fundamentally belongs ? 

 [It formed a contrast to nature, and was a mark of art and 

 refinement.] What an opposite impression must the prepos- 

 terously ornamented box parterres, with their edges cut to the 

 shape of walls, and the mutilated trees which the shears never 

 permitted to bring forth their blossoms, have produced, in com- 

 parison with those trees of a free and natural growth, which 

 unfolded their beautiful and romantic forms, and seemed to 

 rejoice in their blossoms and fruit. A tree, according to the 

 ancient geometric style of gardening, as Schiller says, "must 

 conceal its organic nature, so that art may display itself in its 

 natural body. It must give up its beautiful substantial form for 

 a spiritless mass of uniformity, and its light waving growth for 

 an appearcince of solidity, such as can only be desirable in stone 

 walls." 



6. The contrast is equally great between an architectural and 

 a natural waterfall, or between a basin or canal regularly sur- 

 rounded by hewn freestone, and a free and unrestrained natural 

 brook, of which Bernis, as beautifully as truly, thus expresses 

 himself: — 



" Ce ruisseau, I'amour de Zephire, 

 Qui du voile des cieux reflechissoit I'azure, 

 Et de Flore autrefois embellissoit I'empire, 

 Captif dans un bassin de marbre, ou de porphyr, 

 N'est plus si clair, ni si pur. 



