148 Xan&scape Hrcbitecture 



disciples the taste for nature in landscape gardening 

 was totally banished or concealed by the work of 

 art. Now in defining the shape of land or water, 

 we take nature for our model, and the highest per- 

 fection of landscape gardening is to imitate nature 

 so judiciously that the influence of art shall never be 

 detected." 



However satisfactory we may find the words of 

 Prince Piickler and Humphry Repton on the subject 

 of the use of water in landscape gardening, the excellent 

 and extended study of Thomas Whately on similar 

 lines should not be overlooked. It conveys much 

 valuable advice: 



"So various are the characters which water can 

 assume, that there is scarcely an idea in which it 

 may not concur, or an impression which it cannot 

 enforce: a deep, stagnated pool, dank and dark with 

 shades which it dimly refiects, befits the seat of 

 melancholy; even a river, if it be simk between two 

 dismal banks and dull both in motion and colour, is 

 like a hollow eye which deadens the cotmtenance; 

 and over a sluggard, silent stream creeping heavily 

 along all together, hangs a gloom, which no art can 

 dissipate nor even the sunshine disperse. A gently 

 murmuring rill, clear and shallow, just gurgling, 

 just dimpling, imposes silence, suits with solitude, 

 and leads to meditation: a brisker current which 

 wantons in little eddies over a bright sandy bottom, 



