terror in gloomy woods or dark caverns where THE GARDEN 

 everything is blighted or devastated. 



Such scenes were imitated with more or less 

 success in France and England. To reproduce 

 the marks of decay often seen in nature, 

 dead trees and stumps were planted. To 

 arouse the emotion caused by the contempla- 

 tion of decay in human life, various sorts of 

 ruins were imitated and funeral monuments 

 erected. So morbid a fondness for these em- 

 blems of decay was there that "the garden 

 without a grave could never hope to arouse a 

 powerful sensation of agreeable melancholy." 



All sorts of sham temples, artificial ruins, 

 rusticity in all conceivable forms, were relied 

 upon as the main attractions. The cultivation, 

 not of flowers, but of morbid feeling, seems to 

 have been the purpose of the sentimental 

 garden. 



And all this was done in the name of nature 

 and in protest against the formal in art. The 

 history of art furnishes no more striking ex- 

 ample of exaggerated sentiment degenerated 

 into artificiality. " Simplicity was a pose, while 

 nature was a mass of deceitful illusions." 

 [41] 



