256 gilptn's forest scenery. 



'offensive trumpery/ This language merely, however, 

 discovers a certain amount of inconsistency in our Author ; 

 for it is evident that a deep love of Nature underlies all 

 his writing. How delightedly, for instance, he turns his 

 thoughts from the park to the wild wood is shown in the 

 commencement of the succeeding chapter, where he 

 exclaims joyously, 'Prom scenes of art let us hasten to 

 the chief object of our pursuit, the wild scenes of Nature — 

 the wood, the copse, the glen, and open grove.' No doubt 

 convenience requires a certain trimness in the surround- 

 ings of our dwellings ; but, for our part, we cannot allow 

 that Nature ever produces aught but what is beautiful in 

 her forestal undergrowths. — Ed. 



In the park scene we wish for no expensive 

 ornament. Temples, Chinese bridges, obelisks, 

 and all the laboured works of art, suggest in- 

 harmonious ideas. If a bridge be necessary, let 

 it be elegantly plain. If a deer shed or a keeper's 

 lodge be required, let the fashion of each be as 

 simple as its use. Let nothing appear with 

 ostentation or parade. Within restrictions, how- 

 ever, of this kind we mean not to include piles of 

 sttperior grandeur. Such a palace as Blenheim 

 Castle distributes its greatness far and vsdde. 

 There, if the bridge be immense or the obelisk 



