222 



PARKS AND PLEASURE-GROUNDS, 



and tasteful proprietor may render efficient aid^ and of 

 that aid a sensible artist will always be glad to avail 

 himself. Even the expression of a feeling of want_, 

 though what is wanted is not distinctly perceived^ may 

 direct the attention of the designer, occupied with other 

 things, to some bald or feeble point, and so by stimu- 

 lating invention may lead to valuable results. 



Another point of comparison between landscape paint- 

 ing and landscape gardening, which presents at the same 

 time an analogy and an important difference, is to be 

 found in the manner in which the designs contemplated 

 are respectively carried into effect. In painting there is, 

 or at least may be, something tentative or experimental, 

 running throughout almost the whole of the processes 

 which intervene between the first conception of the pic- 

 ture and its complete execution. The artist, if engaged 

 in composition, traces his outlines on his canvas ; but he 

 can alter them as he goes along, and probably his suc- 

 cess, or the want of it, in one part of the pictm^e, will 

 suggest a corresponding or compensating feature in an- 

 other. Even when approaching a conclusion, his work 

 is yet ox^en to change, though such liberties may then 

 be most unadvisable, still change is possible ; but when 

 the last touch has been given the pictm'e is finished, and 

 will continue so, as long as the colours and other mate- 

 rials endure. All along the work has been wholly in the 

 artist's power, and he has the fehcity of completing it, 

 and stamping even its minutest parts with the abiding 

 impress of his own mind. 



" I also am a painter P' says the Garden Artist ; and 

 it is true that he creates a varied scenery ; but neither 

 are his materials nor his operations so entirely under his 

 command. Trees and shrubs may be regarded as his 



