BEAUTIES AND PRINCIPLES CP THE ART. 
6T 
so frequent as to produce discord ; and variety, but not so 
great as to destroy a leading expression. In plantations, 
we seek it in a combination of qualities, opposite in some 
respects, as in the color of the foliage, and similar in others 
more important, as the form. In embellishments, by a great 
variety of objects of interest, as sculptured vases, sun dials, 
or rustic seats, baskets, and arbors, of different forms, but all 
in accordance, or keeping with the spirit of the scene. 
To illustrate the three principles, with reference to Land- 
scape Gardening, we may remark, that, if unity only were 
consulted, a scene might be planted with but one kind of 
tree, the effect of which would be sameness ; on the other 
hand, variety might be carried so far as to have every tree 
of a different kind, which would produce a confused effect. 
Harmony, however, introduces contrast and variety, but 
keeps them subordinate to unity, and to the leading expres 
sion ; and is, thus, the highest principle of the three. 
In this brief abstract of the nature of imitation in Land- 
scape Gardening and the kinds of beauty which it is possible 
to produce by means of the art, we have endeavored to 
elucidate its leading principles, clearly, to the reader. 
These grand principles we shall here succinctly recapitu- 
late, premising that a familiarity with them is of the very 
first importance in the successful practice of this elegant 
art, viz. : 
The Imitation of the Beauty of Expression, derived 
from a refined perception of the sentiment of nature : The 
Recognition of Art, founded on the immutability of the 
true, as well as the beautiful : And the Production of 
Unity, Harmony, and Variety, in order to render com- 
plete and continuous, our enjoyment of any artistical 
work. 
