6 THE BOOK OF GARDEN DESIGN 
into a valley, with such effect that he is said to have 
proudly declared ‘‘the Thames would never forgive 
him.” He abhorred avenues, and this style of planting 
gave place under his rule to the irregular dotting of 
belts and clumps at varying intervals over an estate. 
There is no doubt but that some of the “follies” of 
his satellites were wrongly attributed to him, but, in 
spite of this, Brown was a consummate mannerist, and 
undoubtedly was the means of spoiling many a good 
garden by his efforts at deceptive planting and arrange- 
ment. 
After Brown’s death in 1784, Humphry Repton was 
considered the leading garden designer for many years. 
To him we owe the origin of the term ‘“ landscape- 
gardener,” a name chosen to designate a science which 
combined the united resources of the landscape painter 
and the practical gardener. Repton is entitled to our 
respect, in that his schemes were not directed towards 
the sweeping away of old gardens, but rather to increase, 
if possible, their beauty and attractiveness. He con- 
sidered himself a disciple of Brown, but on examination 
of his methods and work, we are led to conclude that he 
differed from him in many material particulars. Brown 
would not tolerate formality in any shape or form, but 
Repton, realising that few extremes are pleasing, pre- 
ferred to strike a mean, and combine the ideas of the 
early designers with those of his predecessor. Thus, 
whilst duly appreciating the charms of a garden laid out 
with proper regard to natural effect, he wisely saw that 
it was ridiculous to attempt to bring this style to the 
very doors of the house. Architectural features do not 
readily combine with those of the field and moorland. 
Hence we find that gardens designed by him were 
somewhat severe in treatment close to the house, gradu- 
ally merging into a freer and more natural style, as the 
work of the builder and mason was left behind. Thus, 
