328 
LANDSCAPE GARDENING 
any country ; and mainly, we believe, because the architect 
and the landscape painter are seldom combined in the same 
person, or are seldom consulted together. It is for this 
reason that we so rarely see a country residence, or cottage 
and its grounds, making such a composition as a landscape 
painter would choose for his pencil. But it does not seem 
difficult, with a slight recurrence to the leading principle 
of unity of expression, to suggest a mode of immediately 
deciding which style of building is best adapted to harmo- 
nize with a certain kind of scenery. 
The reader is, we trust, already familiar with our 
division of landscapes into two natural classes, — the 
Beautiful and the Picturesque, — and the two accordant 
systems of improvement in Landscape Gardening which 
we have based upon these distinct characters. Now, in 
order to render our buildings perfectly harmonious, we 
conceive it only to be necessary to arrange (as we may 
very properly do) all the styles of domestic architecture in 
corresponding divisions. 
Some ingenious writer has already developed this idea, 
and, following a hint taken from the two leading schools 
of literature and art, has divided all architecture into the 
Classical and the Romantic schools of design. The 
Classical comprises the Grecian style, and all its near and 
direct offspring, as the Roman and Italian modes ; the 
Romantic school, the Gothic style, with its numberless 
variations of Tudor, Elizabethan, Flemish, and old English 
modes. 
It is easy to see, at a glance, how well these divisions 
correspond with our Beautiful and Picturesque phases of 
Landscape Gardening, so that indeed we might call the 
Grecian or Classical style, Beautiful, and the Gothic oi 
