xl Editor's Introduction 



the colors of the sky and the cloud shadows, and 

 the songs of the birds and the humming of the 

 little insects, and the quiver of the butterfly- 

 wings, — and each and all affected and affecting 

 each other, yet unite to create a whole which 

 has a deeper harmony than other arts, because it 

 is alive and changes in all its parts from moment 

 to moment." 



The age in which Puckler lived was not ex- 

 actly that of great or original architects. This 

 was the case particularly in Germany. It was the 

 period of learning and versatility, and was chiefly 

 imitative in the character of its art, and essen- 

 Itially classic. Schinkel planned a replica of the 

 Parthenon at Athens to be erected in the Crimea. 

 It is difficult to understand how Prince Puckler 

 could have been so carried away by his admiration 

 of Schinkel whose fame has not come down to us 

 with any real distinction. Schinkel's undoubted 

 versatility both in architecture and painting and 

 his great learning in Greek art gave him vogue at 

 the time. It is probable that many of the extra- 

 ordinary conceptions found in Puckler's flower 

 designs, bridges, and temples, fortunately seldom 

 carried out, owe their objectionable features to 

 the influence, if not the pencil, of Schinkel. 



It is seldom, indeed, that we find a landscape 

 architect of parts who is also a really competent 

 architect, and the reverse is likewise true. At 

 first thought, it might seem quite feasible to com- 

 bine the work of the two professions, but, in 

 actual practice, the attempt generally fails. Cer- 



