ON THE PRODUCTION OF EFFECT IN LANDSCAPE AND GARDEN SCENERY. 
The subject is far too comprehensive to be adequately treated of within the limits of an article of 
this nature; nor is it at all probable that each important particular would occur to the individual. 
I therefore cannot hope to do more than endeavour to draw attention to the subject by adducing a few 
of the primary considerations which would naturally occur to any one about to institute an inquiry 
into the principles of the art—and to the study of these principles gardeners must turn their attention ; 
for as there is an immense increase in the mass of materials, the characteristics of many of which are 
just beginning to deveiope themselves, so also has the interest excited by these things caused a corres¬ 
ponding increase of taste, or would-be taste; and therefore it may be said to be a duty imperative on 
gardeners, both for their own advancement and that of their profession, to be the first to discover and 
appreciate the way in which this increase of materials may be turned to the best advantage. Chance 
medley-work will not do now-a-days; the oft-beaten track must be deviated from, and new lights 
opened before us, if we would keep pace with the onward movements which every thing around us 
is making. 
It seems to me, that at the outset of an enquiry of this kind, we should endeavour to obtain a clear 
conception of what we should understand by the word “effect.” The common definition, viz., “that 
which is produced by an operating cause,” is perfectly correct, but does not appear to me compre¬ 
hensive enough to express its relation to gardening operations. Effect may be said, in one instance, to 
be the evidence of design; in another, the result of the application of skill and taste in the disposition 
of the several parts by which it is produced: or, in another, the impression made on the mind through 
the eye by certain arrangements of flowers, shrubs, or trees, arising from the association of ideas which 
they excite, or their own peculiar appropriateness to the situations in which they are placed. 
And again, effects themselves are as various as the means employed to produce them. Thus we say, 
a grand effect, a pleasing effect, a sombre effect, or a graceful, or striking, or gorgeous effect, cum 
multis aliis; but in each and in all, I believe that wherever found they are clearly definable, and. that 
then- presence depends upon certain rules of the art, which time and enquiries of this kind may bring 
to greater perfection. Many persons, in an off-hand way, pooh ! pooh! the idea of being fettered by 
rules of any kind, and trust rather to the inspiration of what they call genius, or the promptings of 
the moment. All a fallacy! Rules never fetter true genius. On the contrary, some of the finest 
productions of genius exemplify the most rigid adherence to rules. There have been instances, it is 
true,where genius has broken through one set of rules, but only to substitute others. But, leaving 
genius to shift for itself, I will further observe, that it is one very necessary duty, on the part of professors 
of gardening, to accustom themselves to observe with the greatest attention such effects as may appear 
to them striking, in order to discover why they are so; and also how far they may be capable of 
being adapted to other designs and situations. The importance of this being allowed, and I cannot 
see any reason why it should not, it is still more so that it should be rightly applied, for each varied 
effect, may be said to have an individuality peculiar to itself. Yet it is not an unworthy enquiry to 
endeavour to ascertain in what way any portion of them may be applied so as to harmonize in 
combination. 
It may be said to hold good as a general rule, that two extreme styles do not harmonize together 
but as the affinity of effects for each other is greater than that of distinct styles, we may conclude that 
there are arrangements by which various effects may be produced in the same design without at all 
interfering with its harmony ; but it is not so with various styles. Every one who lays claim to a 
knowledge of the principles which should influence them in the designing and choice of the decorations 
and arrangements of garden scenery, ought to know that consistency is one of the fundamental rules of 
the art, by which is meant that those subjects only should be employed which are entirely appropriate 
to the design hi which they are placed. As an example of the idea I would convey by these remarks, 
I will suppose that an elegant classical vase, elaborately ornamented, is placed amongst a mass of 
natural rockwork, without one other mark of the hand of man to keep it in countenance. Would not 
a critic exclaim, “ What bad taste! ” But let it be placed on an architectural terrace, accompanied by 
other classical embellishments, and it becomes at once a beautiful and appropriate ornament, hi perfect 
keeping with surrounding objects. From this arises the important deduction, that contrast, however 
desirable, must not be sacrificed to consistency. In a great extent of ground, many distinct styles may 
be admitted, but must be skilfully separated from each other; but hi a small space it is better to fix on 
one style, and adhere to it by admitting nothing which does not perfectly accord with the ideas which 
such a design is supposed to excite. 
In these desultory remarks I have not even passed the threshold of the inquiry, so fraught is it with 
considerations of importance to the development of the principles of true taste ; but my present object 
will have been attained if I have succeeded in awakening that interest which the subject deserves. 
