222 



THE planter's GUIDE. 



in this style in AYOods and plantations ; or by heading 

 down or cutting over trees of any sort that stole, or shoot 

 out again after being cut. In the way last mentioned, 

 bushes may be formed of any species, as of Oak, Elm, 

 Chestnut, and the like, and of which the growth or foliage 

 best suits the views of the planter. But in default of 

 these, and for the purpose of procuring immediate effect, 

 I have practised a new method, which it may be worth 

 while to lay before the reader. This method I have 

 called the composing of copsewood," by which we cer- 

 tainly have it in our power to command as well as to 

 compose it. 



By the composing of copsewood, I mean the making 

 up into one set or stool separate plants of the same 

 species, from three to four or five in number, and in that 

 process combining the high and the low, the spreading 

 and the spiral, the straight and the crooked, in one 

 pleasing group or assemblage. With a little practice, 

 guided by any tiling like taste and judgment, bushes and 

 stools of copsewood may be thus composed, not only 

 naturally and beautifully, but sometimes they may turn 

 out more beautiful than what are found in nature. This 

 is on the same principle of selection that is adopted by 

 the painter, when he assembles many separate beauties in 

 one design, and thereby excels the beauty of any existing 

 individual of the same species. 



The materials of these compounds generally occur in 

 young plantations of seven or eight years^ growth, or 

 more, in which the plants have not been overshadowed, 

 or unduly drawn up, but have had some room to expand. 

 The art lies in properly working up these, so as to pro- 

 duce various effects ; and chiefly in studying good con- 

 trasts — in letting the principal members of your group be 



