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THE BEAUTIFUL AND PICTURESQUE IN GARDEN SCENERY. 
To these we shall add one or two others. 
7. Growth of the plant on a warm, arid soil, impregnated with air. The facts cited by M. 
Treviranus have been fully confirmed by what we have seen in every garden where there are trees 
with variegated leaves. 
8. Propagation in dry weather. The fact cited by Miller belongs to this category of causes ; 
and M. Sageret himself says, that budding, layering, twisting, ringing and tying, have produced 
variegation. We think these are secondary causes, and that with them there is a certain concomitant 
motion in the respiration ■so active that it is followed by emphysema in the secreting tissues. This 
last condition, which is fulfilled by exposure in a warm, aerated aspect, and an arid soil, has been 
entirely neglected by observers. It could only be detected by anatomical experiments on the plants, 
and but few have paid attention to the dissection of tissues. 
9. The destruction of important organs of nutrition, by animals or other causes. The facts 
mentioned by Burgsdorf (p. 51) are to be explained by excess of the respiration directed to the 
surviving parts of the plant. 
After this exposition of facts, it appears that :— 
(a) Variegation may be regarded as a malady. 
(J) That it has its source in the cellular tissue of the diachyma. 
(c) That it attacks especially the superior mesophyllar system, and spreads by layers, always from 
above downwards, so as to extend sometimes to the whole of the diachyma. 
(d). That it results from emphysema without puffiness (emphyseme sans boursouflure) ; on the 
contrary, with contraction of the tissue usually filled with elaborated sap. 
(e). That this emphysema is confined to the intercellular passages, the intercellular substance 
or enchyma being i-eplaced hy air or gas, the nature of which is unknown. 
(/). That this emphysema causes the discoloration of the granules of chlorophyll contained in the 
cellules of the variegated diachyma. 
(17). That the variegation is always produced according to a certain number of types, which are 
repeated throughout numerous different orders and species ; and that all variegated leaves may be 
distinguished by the following terms: — 1, margined; 2, bordered; 3, discoidal; 4, zoned ; 5, spotted ; 
6, reticulated; 7. striped; 8, marbled; 9, variegated by half ; 10, variegated at the point; 11, fasciate; 
12, entirely discoloured. 
(h). That this last phenomenon constitutes albinism or complete whiteness in the leaf, and is never 
reproduced from seed ; so that it is an individual malady. 
(i). That the occasional causes of variegation are numerous, and have their source in many assign- 
able conditions. 
(j). That variegation is closely connected with disturbed vegetable respiration, and that, conse- 
quently, it is to plants what pulmonary emphysema is to animals : with the former, its seat is in the 
leaves, which are the true lungs of plants. 
(k). That in this it is necessary to distinguish general emphysemas which affect the whole plant 
from local variegations. 
THE BEAUTIFUL AND PICTUKESQUE IN GAKDEN SCENEBY * 
KHHE recognition of art, as Loudon justly observes, is a first principle in landscape gardening, as in 
IX all other arts ; and those of its professors have erred who supposed that the object of this art is 
merely to produce a fac-simile of nature, that could not be distinguished from a wild scene. But we 
contend that this principle may be fully attained with either expression — the picturesque cottage 
being as well a work of art as the classic villa ; its baskets and seats of rustic work indicating the 
hand of man as well as the marble vase and the balustrade ; and a walk, sometimes narrow and 
crooked, is as certainly recognised as man's work as one always regular and flowing. Foreign trees 
of picturesque growth are as readily obtained as those of beautiful forms. The recognition of art is, 
therefore, always apparent in both modes. 
If we declare that the Beautiful is the more perfect expression in. landscape, we shall be called 
upon to explain why the Picturesque is so much more attractive to many minds. This, we conceive, 
is owing partly to the imperfection of our natures, by which most of us sympathise more with that in 
which the struggle between spirit and matter is most apparent, than with that in which the union is 
* From A Treatise on the Theory and Practice of Landscape Gardening. By A. J. Downing, Newburgn, New York. London : 
Longman and Co. 
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