1010 



PRACTICE OF GARDENING. 



Part 111. 



value attached to its effect, that no place is deemed perfect without a river or lake ; and 

 such the indiscriminate desire of obtaining them, that nature has been too frequently dis- 

 regarded in their form and situation. Of the characters which water assumed under 

 the geometric style, we can only observe, that tlieir names convey, in a great degree, an 

 idea of the forms. Their situations were near the mansion ; and their marginal accom- 

 paniments of masonry, turf walks, and hedges, were determined by the architectural 

 forms and lines of the capital feature in the scene. Tlie choice, from the most intricate 

 and curious fountains to tlie plain oblong canal, depended on the splendor of the general 

 design ; very little on natural situation. The supply was generally obtained from some 

 concealed reservoir. 



7217. To imitate lakes, rivers, or rills, and their accompaniments, is the object of land- 

 scape-gardening ; and of each of these natural characters v> e shall remark the leading 

 circumstances in the originals and the imitations. All water is either running or stag- 

 nant. Lakes, ponds, and pools, ai-e of the latter class ; rivers, rivulets, and rills, of the 

 foiTuer description. In certain situations, lakes may be created where their supply is 

 moderate ; rivers and rills only when it is abundant. Both characters, when they exist 

 in nature, may be improved by studying the natural characteristics of each species. 



7218. Situation, relatively to the character of the ground's surface, is tlie fii-st consider- 

 ation respecting water, in whatever form it may appear. No situation in which this 

 material may be supposed to exist and expand itself into a body, can be truly natural, that 

 is not a vale, plain, or hollow. Mountain streams are out of the question ; and small 

 lakes or pools, in hollows or elevated grounds, are more to be considered as accidental 

 tlian as general nature. Even artificial lakes or rivers on a considerable scale, to be 

 natural must either be, or seem to be, situated in the lowest part of the landscape then 

 under the eye. If otherwise, if placed on the side of a declivity over which the eye can 

 range at the same time, it may be attractive to a stranger at first view ; but the want of 

 truth or fidelity to the thing to be imitated, will soon bring on an increasing aversion in 

 the mind of genuine taste. 



7219. Ponds in different levels, seen in the same view, are very objectionable on this 

 principle. The little beauty they display as spots, ill compensates for the want of pro- 

 j)riety ; and the leading idea which they suggest, is a question between tlieir present situation 

 and their non-existence. The choice, therefore, as to the situation of water, must ever 

 depend more on natural circumstances than proximity to the mansion. Is then all water 

 to be excluded that is not in the lower grounds ? We have no hesitation in answering 

 this question in the affirmative, so far as respects the principal views, and when a lower 

 level than that in which the water is proposed to be placed is seen in the same view. But 

 in respect to recluse scenes, wliich Addison compares to episodes to the general design, 

 we would admit, and 



even copy the ponds on .^.A^vA^^mm\\\\m\\\^^v«,^^^^^^ ^ \' ^'^'^Miiii^JMi^^ 



the sides or even tops of 

 hills, which may be de- 

 signated accidental beau- 

 ties of nature. In con- 

 fined spots tliey are often 

 a very great ornament 

 {Jig. 695 ) ; as a proof of 

 which, we have only to 

 observe some of the sub- 

 mban villas round the 

 metropolis, where a small 

 piece of Avater often comes 

 in between the house and 

 the public road with the 

 happiest effect. 



7220. A beautiful lalce, 

 or part of a circuitous 

 body of water, considered as a whole, be found to exhibit a form, characterised by 

 breadth rather than length ; by tliat degree of regularity in its outline as a whole, which 

 confers that, which, in common language, is called shape ; and by that irregularity in 

 the parts of this outline, which produces vaj-iety and intricacy. Supposing the situation 

 to be fixed on for the imitation of a lake {J ig. 696.), the artist is to consider the broadest 

 and most circuitous hollow as 

 his principal mass or breadth of 

 water, and which he will extend 

 or diminish according to the ex- 

 tent of aquatic views the place 

 may require. From this he 



