6o The Art of Landscape Gardening 



IX. Novelty. Although a great source of pleasure, 

 this is the most difficult and most dangerous for an artist 

 to attempt; it is apt to lead him into conceits and whims 

 which lose their novelty after the first surprise. 



X. Contrast supplies the place of novelty, by a sud- 

 den and unexpected change of scenery, provided the 

 transitions are neither too frequent nor too violent. 



XI. Continuity. This seems evidently to be a source 

 of pleasure, from the delight expressed in a long avenue 

 and the disgust at an abrupt break between objects that 

 look as if they ought to be united, as in the chasm 

 betwixt two large woods, or the separation betwixt two 

 pieces of water; and even a walk, which terminates 

 without affording a continued line of communication, 

 is always unsatisfactory. 



XII. Association. This is one of the most impressive 

 sources of delight, whether excited by local accident, as 

 the spot on which some public character performed his 

 part ; by the remains of antiquity, as the ruin of a clois- 

 ter or a castle; but more particularly by that personal 

 attachment to long-known objects, perhaps indifferent 

 in themselves, as the favourite seat, the tree, the walk, 

 or the spot endeared by the remembrance of past events. 

 Objects of this kind, however trifling in themselves, are 

 often preferred to the most beautiful scenes that paint- 

 ing can represent or gardening create. Such partialities 

 should be respected and indulged, since true taste, which 

 is generally attended by great sensibility, ought to be the 

 guardian of it in others. 



XIII. Grandeur. This is rarely picturesque, whether 

 it consists in greatness of dimension, extent of prospect, 

 or in splendid and numerous objects of magnificence; 

 but it is a source of pleasure mixed with the sublime. 

 There is, however, no error so common as an attempt 



