168 
ON DISPOSING PLANTS IN SHRUBBEEIES AND PLANT-HOFSES. 
can be composed, may be gathered by a diligent observer in wandering through any of 
those districts most celebrated for their natural beauty. 
One of the principal of the rules which may thus be deduced, is, that whenever any- 
thing like continuous masses of vegetation occur, their front outline is marked by the 
utmost freedom and irregularity, and, when from any cause it approaches to something 
verging on straightness, this is relieved of all tameness or monotony by the extreme variety 
in the heighth or character of the plants composing it. 
And this rule is not merely susceptible of application in any garden scene, but the 
character of that scene will be stamped as interesting or otherwise, in precise accordance 
with the extent to which such a principle has been observed or violated. 
Nor must it be supposed that, however small any garden object may be, it is exempted 
from the operation of recognised principles. It is not the size of a plantation or group of 
plants which either brings it within, or places it beyond the reach of acknowledged rules. 
A mode of arrangement may be beautiful or defective, apart altogether from any consider- 
ation of extent. And, indeed, it is in small matters that a tasteful disposal of the constituent 
parts tells with the best effect, for the impression to be produced is in such cases more 
dependent on artificial means, as nature will herself do something towards creating a good 
result where everything is on a large scale. 
It is necessary thus to show how the rules of art apply to the smallest object or 
collections of objects, because it is mainly with plantations of so limited a character as to 
be properly termed shrubberies, and with in-door exotics, which are never made to cover 
any very large area, that this article is now to deal. 
If we suppose an artist of eminence introducing into one of his pictures a group of 
whatever size, of human beings, cattle, or various vegetable fo!rms, we should in an instant 
perceive the absurdity and want of taste displayed, if he placed them in rows, so that the 
objects in each row ranged about the same height upon the canvas, those farthest off being of 
course highest. No variety of costume, figure, features, or accompaniments, would atone for 
such a radical defect. And yet this would only be in conformity with the practice of arranging 
plants, whether on stages or borders, in regular successional rows, the highest at the back. 
But if, on the other hand, we imagine the artist scattering his figures about, so as to 
make their relative heights and general arrangement as varied as possible, some one, two, 
three, or more of them having particular prominence given them, and either rising higher 
in the back ground or advancing further forward in front, and the whole insensibly blending 
and harmonising, so as to form but one great assemblage ; though, perhaps, partially broken 
up into several different subordinate groups ; every one, however unable to appreciate the 
process of art by which all is accomplished, will be pleased with the general result, and will 
glance from object to object, and from group to group, with a heightened relish for the 
entire performance, from the gratification which each part has occasioned. 
And thus it is with a well arranged shrubbery, border, or plant-house. There is enough 
in the details to occupy the attention and please the eye throughout the entire collection, 
while the attractiveness of the w^hole is rendered all the greater by the interest of the several 
parts. It is not all seen at once, but leads on the spectator from point to point, presenting 
to him, in however limited a space, continually fresh parts. There are no true or regular 
lines. But all is freeness, variety, and grace. And all the best specimens, of the finest 
and most peculiar form, stand out in relief, and are thoroughly seen. 
The objections to the more common method of arranging plants, so as to slope gradually 
and uniformly from the back to the front of the border or stage, are, that the effects just 
specified are entirely reversed. The eye takes in all at one look, and there is no induce- 
ment to the spectator to pass along the front and examine it minutely. Being all placed 
at a regular angle, also, the plants lose their individuality. There is no play of outline, no 
wavy line of beauty, no patches of intermingled sunlight and shadow. The finest and most 
beautiful plant ranks on a level with the most insignificant, and is only equally seen. In 
fact, it is merely the tops of each specimen that present themselves to the observer, and 
whatever there may be remarkable in either habit, foliage, or flowers, is, to a great extent, 
lost, by being mingled with the common mass. 
