H ints on Landscape Gardening 
Achibal, also laid out by Jahangir, he gives 
details regarding the arrangement of the 
fountains, cascades and trees which apply 
equally well to the Shahlimar Bagh :— 
“ What principally constitutes the beauty 
of the place is a fountain whose waters dis¬ 
perse themselves into a hundred canals round 
the house, which is by no means unseemly, 
and throughout the gardens. . . . The 
garden is very handsome, laid out in regular 
walks and full of fruit-trees, apple, pear, 
plum, apricot and cherry. Jets d'eau. in 
various forms and fish ponds are in great 
number, and there is a lofty cascade which in 
its fall takes the form and color of a large 
sheet, thirty or forty paces in length, pro¬ 
ducing the finest effects imaginable : es¬ 
pecially at night, when innumerable lamps, 
fixed in parts of the wall adapted for that 
purpose, are lighted under this sheet of 
water.” 
One illustration here given (page 216), a 
view of the Shahlimar pavilion, when the 
water is not flowing, shows two stone terrace 
walls behind the pavilion with numbers of 
small niches for lamps by which the cascades 
were illuminated in the manner thus de¬ 
scribed by Bernier. 
( To be continued) 
HINTS ON LANDSCAPE GARDENING 
From the Pen of Humphry Repton, Esq. (1752-1818) 
Part III 
T O my profession belongs chiefly the ex¬ 
ternal part of architecture, or a knowledge 
of the effect of buildings on the surrounding 
scenery. 
As every conspicuous building in a park 
should derive its character from that of the 
house, it is very essential to fix, with some 
precision, what that character ought to be; 
yet the various tastes of successive ages have 
so blended opposite styles of architecture, 
that it is often difficult, in an old house, to 
determine the date to which its true character 
belongs. I venture to deliver it as my opin¬ 
ion, that there are only two characters of 
buildings; the one may be called perpendic¬ 
ular, and the other horizontal. 
The two characters might, perhaps, be dis¬ 
tinguished by merely calling the one Gothic, 
and the other Grecian : but it is not the style 
or date that necessarily determines the charac¬ 
ter, as will appear from Figures 11 and 12; 
which represents a view of a house at such 
distance that none of its parts can be disting¬ 
uished, yet the prevalence of horizontal 01- 
perpendicular lines at once fixes and deter¬ 
mines the character. The first (Fig. 11) we 
should call a Grecian, house ; the latter (Fig. 
12) Gothic : and there can be little doubt, in 
such a situation, which ought to be preferred. 
The character of the house should, of 
course, prevail in all such buildings as are 
very conspicuous, or in any degree intended 
as ornaments to the general scenery ; such 
as lodges, pavilions, temples, belvederes and 
the like. Yet, in adapting the Gothic style 
to buildings of small extent, there may be 
some reasonable objection : the fastidiousness 
even of good taste will, perhaps, observe, 
that we always see vast piles of buildings in 
ancient Gothic remains, and that it is a mod¬ 
ern, or false Gothic only, which can be 
adapted to so small a building as a keeper’s 
lodge, a reposoir , or a pavilion. 
'The characters of Grecian and Gothic archi¬ 
tecture are better distinguished by an atten¬ 
tion to their general effects, than to the 
minute parts peculiar to each. It is in 
architecture as in painting, beauty depends 
on light and shade, and these are caused by 
the openings or projections in the surface: 
if these tend to produce horizontal lines, the 
building must be deemed Grecian, however 
whimsically the doors or windows may be 
constructed. If, on the contrary, the shad¬ 
ows give a prevalence of perpendicular lines, 
the general character of the building will be 
220 
