410 Schell 's Landscape- Gardening. 



These combinations can only produce contrasts, but no har- 

 monious union ; yet they are very interesting in grounds, and I 

 have often applied them on that account. I have planted acacias 

 in front of a wall of Pinus y4 x bies, where they stood out to the 

 greatest advantage from this dark back-ground, and formed a 

 striking contrast from the difference of their form; for the same 

 reason, I have sometimes placed the narrow and white leaved 

 willow, with the large and dark leaved maple, &c. 



I do not intend to say, however, that only trees with broad 

 truncated crowns, or those with conical pointed ones, should be 

 placed together ; or that the species with large leaves, or small 

 leaves, or pinnated leaves, should always be grouped together. 

 A plantation of this sort, from its uniformity, would be very tire- 

 some to the spectator ; because, when he saw an ash, he would 

 immediately know that its companions would be the acacia, the 

 negundo, or other pinnated-leaved trees : but there is no doubt 

 that this method of grouping is the easiest and surest to obtain 

 harmony of form. From this method of uniting corresponding 

 trees and shrubs proceed all the other combinations and devia- 

 tions, which may be multiplied a thousand-fold, and always 

 different, of which, at the end of this fragment, several examples 

 will be given. 



As plantations in grounds should not only resemble nature, 

 but should be as varied as she is, they should be made to imitate 

 her in her freaks, in many places, by putting trees and shrubs 

 together, without considering whether they will harmonise or 

 not; because in grounds, as in painting, contrasts are required, 

 which nature frequently effects, yet not always intentionally, for 

 it is not every combination that forms a picturesque contrast, 

 such as is required by art. 



Nature also chiefly scatters her shrubs at random, which art, 

 as we have already said, should imitate, but not too frequently. 

 The Viburnum Lantana may therefore sometimes be united 

 with the rose, the Pubus odoratus with the Pigustrum vulgare, 

 the Cornus alba with Spirse'a Aypericifolia, Cytisus Pabtirnum 

 with Syringa vulgaris, Sorbus aucuparia with Primus Padus, 

 &c. ; which, when placed in masses, only form contrasts, but no 

 harmonious images. These contrasts increase the multiplicity 

 of forms, and communicate to the whole a higher picturesque 

 value, because they frequently interrupt the continual struggle 

 of art to express itself in a beautiful and harmonious form, 

 whereby repetition, and consequently uniformity, cannot always 

 be avoided. 



( To he continued.) 



