English Gardens 



remained practically unchanged for a couple of centuries. 



With the beginning of this century, when taste in architecture 



and art was distinctly declining towards its final depth in the 



thirties, there came first, a carelessness for the beauty of the 



'^old gardens, which resulted in neglect; and then the period 



"■when, under the guidance of Brown, the imitation of nature 



^nd the making of pictures was the aim everywhere. This 



resulted not only in the destruction of many fine gardens, but 



A TERRACE AT MONTECUTE 



in a general perversion of taste which it has taken many years 

 to counteract. 



The reaction from Brown's hopeless endeavor to imitate 

 nature and to avoid everything pertaining to^ formaHtv was 

 very quick, and yet it is indicative of the English temper that 

 it was not a violent swing of the pendulum to the other ex- 

 treme. Kemp, writing between fifty and sixty, laid down rules, 

 or rather suggested principles which seem thoroughlv sound 

 and sensible. He urged the necessity for formal treatment in 



68 



