328 LANDSCAPE GARDENING 



any country ; and mainly, we believe, because the architect 

 and the landscape painter are seldom combined in the same 

 person, or are seldom consulted together. It is for this 

 reason that we so rarely see a country residence, or cottage 

 and its grounds, making such a composition as a landscape 

 painter would choose for his pencil. But it does not seem 

 difficult, with a slight recurrence to the leading principle 

 of unity of expression, to suggest a mode of immediately 

 deciding which style of building is best adapted to harmo- 

 nize with a certain kind of scenery. 



The reader is, we trust, already familiar with our 

 division of landscapes into two natural classes, — the 

 Beautiful and the Picturesque, — and the two accordant 

 systems of improvement in Landscape Gardening which 

 we have based upon these distinct characters. Now, in 

 order to render our buildings perfectly harmonious, we 

 conceive it only to be necessary to arrange (as we may 

 very properly do) all the styles of domestic architecture ir. 

 corresponding divisions. 



Some ingenious writer has already developed this idea, 

 and, following a hint taken from the two leading schools 

 of literature and art, has divided all architecture into the 

 Classical and the Romantic schools of design. The 

 Classical comprises the Grecian style, and all its near and 

 direct offspring, as the Roman and Italian modes; the 

 Romantic school, the Gothic style, with its numberless 

 variations of Tudor, Elizabethan, Flemish, and old English 

 modes. 



It is easy to see, at a glance, how well these divisions 

 correspond with our Beautiful and Picturesque phases of 

 Landscape Gardening, so that indeed we might call the 

 Grecian or Classical style, Beautiful, and the Gothic or 



