General Notices. 427 



" One of the chief elements of artistical imitation in landscape-gardening 

 being a difference in the materials employed in the imitation of nature from 

 those in nature herself, nothing can be more apparent than the necessity of 

 introducing largely exotic ornamental trees, shrubs, and plants, instead of 

 those of indigenous growth. Thus, to take the simplest example, if we sup- 

 pose a lawn of an acre, arranged with groups of trees, the groups composed 

 of lindens, horsechestnuts, and magnolias, where the native forests are only 

 filled with oak and ash trees, the variety of the foliage and blossoms alone will 

 at once suggest the recognition of art. Borders of rare flowers and climbing 

 plants, — gravel walks, in the place of common paths or roads, — smooth 

 turf, instead of wild meadow, — elegant vases and architectural ornaments, 

 with many other accessories, bespeaking the presence of a tasteful and en- 

 lightened mind ; all these are the essential characteristics of landscape-garden- 

 ing, considered as an art of imitation. 



"Besides picturesque and beautiful imitations of nature, another mode has 

 recently arisen in England, which Mr. Loudon has very appropriately named 

 the gardenesque style. The style is evidently founded rather upon a culti- 

 vated taste for botany and horticulture, and a desire to exhibit every variety 

 of rare ornamental tree and plant, than upon any new element of design. As 

 its characteristic features are little known here, we shall place them before 

 the reader, as they have been delineated by Mr, Loudon." 



MISCELLANEOUS INTELLIGENCE. 



Art. I. General Notices. 



Insects on Plants. — Mr. Knight of the King's Road, Chelsea, an able 

 cultivator of all the rarest exotics, after trying various expedients for banish- 

 ing the red spider from his hothouses, thought of a plan which effectually 

 clears the plants from dust as well as insects. He makes a solution of glue 

 in warm water, in large tubs ; and, when sufficiently diluted by additions of 

 warm water, and while yet hot, the whole infested plant is plunged into the 

 liquid, and immediately returned to its place in the house. Thus a thin coat 

 of the solution remains on every part of the plant, encasing every insect in an 

 investment in which they can neither breathe, eat, nor move. The vestment 

 hardens as it cools ; and, after a day or two, it cracks and peels off the plant, 

 bringing with it every insect which it involved. This dipping, it will be 

 observed, can only be performed on portable plants, or such as occupy pots 

 or boxes not heavier than what two men can carry in their arms. On large 

 specimens, as orange trees and the like, the solution must be thrown on with 

 a syringe, or applied with a soft brush. (^Cambridge Chronicle and Journal, 

 May 1. 1841.) 



word, as a mechanical talent only is requisite for this. The beautiful in art 

 depends on ideas, and the true artist, therefore, must possess, together with 

 the talent for technical execution, that genial power which revels freely in rich 

 forms, and is capable of producing and animating them. It is by this that the 

 merit of the artist and his production is to be judged ; and these cannot be 

 properly estimated among those barren copyists which we find so many of 

 our flower, landscape, and portrait painters to be. But the artist stands much 

 higher in the scale, who, though a copyist of visible nature, is capable of seiz- 

 ing it with poetic feeling, and representing it in its more dignified sense : such, 

 for example, as Raphael, Poussin, Claude, &c.' — Weinh'enner, as translated 

 in Loudon's Architectural Magazine, vol. v. p. 397." 



