RUSTIC ORNAMENTS. 
193 
with; these are all valuable in the dressed garden surrounding 
or near a dwelling, hut would be out of place and wear an air of 
absurdity in any other position. The other class is of more 
varied character, embracing the grotesque seat, the rustic bridge, 
the hermitage, those incongruous heaps called rootwork, and an 
endless variety of other similar devices, having for their object 
the embellishment of the rural glade, the forest rides, or the 
shrubbery walk; these, though of ruder construction, from the 
circumstance of their partaking closely of the character of the 
surrounding scenery, require an infinite deal more of true taste 
so to dispose them as to create the pleasurable impression in¬ 
tended, and yet to avoid all appearance of endeavour ; any osten¬ 
tatious prominences in a work of the kind, or even of any of its 
parts, will inevitably mar the effect, as we are then led to look at 
the object itself rather than at the whole, of which it is only a 
component; and admiration, which otherwise would be excited by 
the view of natural beauties, dwindles into puerile satisfaction or 
indifference by the distraction of attention caused by the too 
apparent presence of art. Ornament of any kind should ever be 
made subordinate to the general features of the scene, lending 
an additional charm rather than seeming to attach to themselves 
any particular notice. The transition from propriety to its oppo¬ 
site is so easy, and indeed so likely to occur from the very desire 
to improve to the utmost, that we are more particular on this 
head than might otherwise seem necessary; and just to illustrate 
our meaning, w T e will mention an instance or two in which the 
least unnecessary addition would certainly spoil every previous 
effort. It may be that a vista presents itself with a charming 
prospect, but, by an oversight in the planting or an uncontrol¬ 
lable habit of the trees, the outline of the opening is so exactly 
regular as to be displeasing: here the introduction of a rustic 
object on one side, as the stump of a tree, a mound, or something 
similar, w r ould immediately relieve the sameness ; but place it in 
the middle, or two of them so as to be seen together, and the 
absurdity of the arrangement becomes self-apparent immediately; 
_or, in the case of a clumji of dark foliaged trees, whose sombre 
character it is desired to enliven, the ease with which this may 
be accomplished by the addition of a specimen stripped of its 
bark and cut to a rugged form, may be readily conceived, but 
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