the Lawn, Shrubbery, and Floicer- Garden. 167 



and this will constitute tJie architectural style. In another, statues, vases, and 

 other sculptural objects, may be frequent in a geometric garden, and consti- 

 tute, of course, the sculpturesque style. Where the trees and shrubs are for the 

 most part cut into artificial shapes, whether architectural, such as walls 

 (hedges), arcades, pyramids, &c., or sculptural, such as statues, vases, and 

 other tonsile works, the result is the tonsile style, or verdant sculpturesque. 

 Where stone terraces, terrace gardens, and sculpture are combined, the result 

 is the Italian style; and grass terraces, turf mounts, and straight canals consti- 

 tute the Dutch style. 



The picturesque style \av\es according to the natural character of the sur- 

 face, and the kind of art employed. It may be the hilly, the rocky, the 

 aquatic, the trivial or common, or the elegant or refined, picturesque. The 

 trivial picticresque maybe applied to garden scenery in which only the common 

 trees and shrubs of the country are planted, and the grassy surface is left, like 

 that of a common pasture, without either the wildness of the forest glade, or 

 the smoothness and polish of the lawn. The rough picturesque is exemplified 

 in a surface more or less irregular or broken, among the grass of which ferns 

 and other strong-growing plants spring up along with low shrubs ; such, in 

 short, as we see on the margins of forest glades, where the bushes have been 

 kept down by the browsing of cattle and sheep. The elegant or refined pictu- 

 resque is exemplified in lawns and pleasure-grounds, where the surface has 

 been reduced to smooth undulations, levels, or slopes, and where the trees 

 and shrubs grouped on these surfaces are of exotic species, or of such varieties 

 of the common kinds as are not frequently to be met with. Other varieties 

 of the picturesque, resulting from rocks, water, &c., will readily occur to the 

 reader. 



The gardenesque style is to gardening, as an art of culture, what the pictu- 

 resque style is to landscape-painting, as an art of design and taste. All the 

 trees, shrubs, and plants, in the gardenesque style, are planted and managed in 

 such a way as that each may arrive at perfection, and display its beauties to as 

 great advantage as if it were cultivated for that purpose alone ; while, at the 

 same time, the plants, relatively to one another and to the whole scene or 

 place to which they belong, are either grouped or connected on the same 

 principles of composition as in the picturesque style, or placed regularly or 

 symmetrically as in the geometric style. Hence there are two distinct varie- 

 ties of the gardenesque, the geometric gardenesque, and the pictorial gardenesque ; 

 and of each of these there are subvarieties arising from the use, in connexion 

 with them, of architecture, sculpture, common trees and plants, or exotic trees 

 and plants, &c. The tonsile style, however, can never be united with the gar- 

 denesque, because it violates the fiindamental principle, that of allowing each 

 plant to grow in such a manner as to come to perfection ; nor will the pictu- 

 resque, because in that style every tree and shrub is left, unpruned, to assume 

 the form which it takes by nature, or which it may be forced to assume by its 

 connexion or grouping with other trees and shrubs. 



Mixed Styles. — Two or more of these styles may be employed in the same 

 pleasure-ground, but not indiscriminately mixed there. When more than one 

 style is employed, it can only be done with a good effect by using the styles 

 in succession, in different parts of the same pleasure-ground. For example, 

 the Italian style may prevail on the lawn front of the house, and may lose 

 itself in grass terraces of the Dutch style ; beyond which may be exhibited, 

 first the gardenesque, and then the picturesque ; but to introduce alternately 

 portions of geometric or tonsile scenery with picturesque scenery would dis- 

 tract attention, and be destructive of that first of all principles in composition, 

 the unity of the whole, which can only be produced by the connexion and 

 harmony of the parts. Such scenery cannot be rendered tolerable otherwise 

 than by being the effect of neglect, and exhibiting the character of a garden 

 in ruins ; of which there are a few fine specimens in the country, produced by 

 only partially keeping up scenery originally in the tonsile style. 



It is much to be regretted that the tontile style is not occasionally revived. 



