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influences, which gather strength for good as the mind 



becomes more refined and more appreciative in the con- 

 tact. 



The substitution of art for nature in the improvement 

 of public grounds had its origin in an age, when the 

 beauties of nature were unknown and unfelt, and among 

 a people whose worship of art was a national character- 

 istic, and who regarded an artistic display as an essential 

 accompaniment of imperial grandeur. 



A later and higher degree of civilization has developed 

 that love for the real beauties of nature which has 

 stamped itself upon the English character, which is modi- 

 fying the old system pursued in France, and which is 

 gaining such rapid progress in this country. The over- 

 throw of the ancient ideas was not accomplished without 

 an effort, and not until some of the finest minds of Great 

 Britain had been enlisted in the cause, and had shown 

 the folly of one system and the beauties of the other. 



To return to the old method now, would be to abandon 

 all progress and to substitute the obsolete for the true. 

 If the ancient style should become the orthodox, it will be 

 the death blow of rural improvement in this country on 

 the score of expense alone, since the very nature of the 

 system is to know no limit in expenditure. One con- 

 struction begets another, until nature is obliterated and 

 art becomes supreme — rural simplicity gives place to 

 extravagant pretensions, and Ave find too late that we 

 have destroyed the very thing we sought to create. 



Since then the dictates of good taste and of economy 

 prescribe that the natural features of the surface should 



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