BEAUTIES AND PRINCIPLES CF THE AKT. 67 



SO frequent as to produce discord ; and variety, but not so 

 great as to destroy a leading expression. In plantations, 

 we seek it in a combination of qualities, opposite in some 

 respects, as in the color of the foliage, and similar in others 

 more important, as the form. In embelUshments, by a great 

 variety of objects of interest, as sculptured vases, sun dials, 

 or rustic seats, baskets, and arbors, of different forms, but all 

 in "accordance, or keeping with the spirit of the scene. 



To illustrate the three principles, with reference to Land* 

 Bcape Gardening, we may remark, that, if unity only were 

 consulted, a scene might be planted with but one kind of 

 tree, the effect of which would be sameness ; on the other 

 hand, variety might be carried so far as to have every tree 

 of a different kind, which would produce a confused effect. 

 Harmony, however, introduces contrast and variety, but 

 keeps them subordinate to unity, and to the leading expres- 

 sion ; and is, thus, the highest principle of the three. 



In this brief abstract of the nature of imitation in Land- 

 scape Gardening and the kinds of beauty which it is possible 

 to produce by means of the art, we have endeavored to 

 elucidate its leading principles, clearly, to the reader. 

 These grand principles we shall here succinctly recapitu- 

 late, premising that a familiarity with them is of the very 

 first importance in the successful practice of this elegant 

 art, viz. : 



The Imitation of the Beauty of Expression, derived 

 from a refined perception of the sentiment of nature : The 

 Recognition of Art, founded on the immutability of the 

 true, as well as the beautiful : And the Production of 

 Unity, Harmony, and Variety, in order to render com- 

 plete and continuous, our enjoyment of any artistical 

 work. 



