adapted to North America. 473 



other object in the landscape, consists in its fitness to group with other objects. 

 Now, the fitness of one object to group with another evidently does not con- 

 sist in the perfection of the form of that object, but rather in that imperfection 

 which requires another object to render it complete.' 



" In this description of the gardenesque mode of imitating nature, we per- 

 ceive that the exhibition of a highly developed state of cultivation is the 

 predominant characteristic. The trees and shrubs are grown to the highest 

 possible perfection, and every angle is, as it were, rounded with a species of 

 elegant art. The object is, therefore, mainly to produce highly elegant and 

 T^oWshed forms. 



" The gardenesque imitation, and what we have termed a simply beautiful 

 imitation of nature, ma}', at first sight, appear to be the same. But there is a 

 strongly marked difference. In an imitation of beautiful and of picturesque 

 nature, the expression of the whole scene is the object never to be lost sight 

 of. It is characterised no less by the form of the ground, and by the indivi- 

 dual character of the trees themselves, than by the mere arrangement of the 

 trees singly or in groups, and the cultivation to which they are afterwards 

 subjected. Thus, as we shall hereafter point out, the expression of the larch 

 is different from that of the willow, the oak from that of the elm, and so in 

 numerous other trees, both native and exotic. Now, the gardenesque mode 

 of imitation readily admits in the same scenes every species of tree, provided 

 it is planted separately, and afterwards grown in the manner required by that 

 mode, because it depends for its character mainly on the beauty of form as 

 developed by culture. But in beautiful or picturesque imitations of nature, a 

 predominance of such trees and other objects is requisite, as in themselves are 

 intrinsically expressive of either graceful beauty or picturesque beauty. The 

 art of culture, as in thinning, pruning, &c., is directed rather to heighten those 

 peculiar expressions, whether in the single tree or in the group, than to en- 

 deavour to produce luxuriance, or the beauty of culture. 



" In the imitative scale, viewing the different modes of landscape-gardening 

 as works of art, fac-simile imitations of nature rank the lowest ; nature in 

 them being imitated in her own forms and materials, in such a manner as to 

 produce none of the pleasure experienced in the contemplation of art. Next 

 to these we should place imitations in the geometric and in the gardenesque 

 manner, as these depend upon choice materials arranged in regular and sys- 

 tematic, or in elegant and artistical forms, for the admiration which they 

 elicit. And highest in the scale we rank picturesque and beautiful imitations 

 of nature, which join to fine forms, and elegance in arrangement, the higher 

 beauty of sentiment or expression. 



" In practice, however, the entire new arrangement, or, in other words, the 

 creation of a landscape-garden on a large scale, will seldom be attem.pted in 

 this country. In a multitude of examples in the United States, the grounds 

 of places to be improved as country residences have already a considerable 

 degree of natural beauty, in scattered groups and thickets of trees, &c., for 

 the destruction of which no theory of art will apologise. The art of landscape- 

 gardening, in these instances, will be displayed in adding, to the natural beauties 

 alread}' existing, all those graces and elegancies which are its characteristics. 

 Smoothing all harshnesses inconsistent with refined habitation, introducing 

 groups of rare and beautiful trees, shrubs, and plants, and heightening the 

 whole by a polish and keeping corresponding to the style and character of 

 the place and mansion, or the wealth and means of its occupant. 



" Besides these beauties of form and expression in the different modes of 

 laying out grounds, there are certain universal and inherent beauties common 

 to all the styles, and indeed to every composition in the fine arts. Of these 

 we shall especially point out those growing out of the principles of unity 

 and VARIETY. 



" Unity, or the productio7i of a whole, is a leading principle of the highest 

 importance in every art of taste or design, without which no satisfactory result 

 can be realised. This arises from the fact, that the mind can only attend with 



