20 
LANDSCAPE GARDENING. 
The tower of Babel, not yet finished, 
St. George, in box ; his arm scarce long enough, but will 
be in a condition to stick the dragon by next April. 
Edward the Black Prince, in cypress. 
A pair of giants stunted, to be sold cheap. 
An old maid of honor, in wormwood. 
A topping Ben Jonson, in laurel. 
Divers eminent modern poets, in bays ; somewhat 
blighted. 
A quick set hog, shot up into a porcupine, by being for- 
got a week in rainy weather. 
A lavender pig, with sage growing in his belly. 
Whatever may have been the absurdities of the ancient 
style, it is not to be denied that in connection with highly 
decorated architecture, its effect, when in the best taste^as 
the Italian— is not only splendid and striking, but highly 
suitable and appropriate. Sir Walter Scott, in an essay 
on landscape embellisment, says, “ if we approve of Palla- 
dian architecture, the vases and balustrades of Yitruvius, 
the enriched entablatures and superb stairs of the Italian 
school of gardening, we must not, on this account, be con- 
strued as vindicating the paltry imitations of the Dutch, 
who clipped yews into monsters of every species, and re- 
lieved them with painted wooden figures. The distinction 
betwixt the Italian and Dutch is obvious, A stone hewn 
into a gracefully ornamented vase or urn, has a value 
which it did. not before possess ; a yew hedge clipped into 
a fortification^ is only defaced. The one is a production of 
art, the other a distortion of nature.” 
The Modern Style. Down to the time of Addison, 
in the beginning of the eighteenth century, the formal style 
reigned triumphant. The gardener, the architect, and the 
sculptor — all lovers of regularity and symmetry, had re- 
tained complete mastery of its arrangements. And it is 
