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56 



whole, are different modes of expressing 

 uniti/j without which no composition can 

 be perfect; yet there are few principles 

 in gardening which seem to be so little 

 understood. This essential unity has often 

 been mistaken for symmetry, or the cor- 

 respondence of similar parts; as where 



* Grove nods at grove, each alley has a brother. 

 And half the platform just reflects the otiier.' 



POPE. 



Indeed this symmetry in the works of 

 art was perfectly justifiable under that 

 style of gardening which confined within 

 lofty walls the narrow inclosure appro- 

 priated to ancient grandeur. 



When the whole design is meant to 

 be surveyed at a single glance, the eye 

 is assisted in its oflSce, by making its di- 

 visions counterparts of each other; and 

 as it was confessedly the object of the 

 artist to display his labour, and the great- 

 ness of the effort by which he had sub- 

 dued nature, it coidd not possibly be 

 more conspicuous than in such shapes of 

 land and water as were most unnatural 



