Reclination, and planted with all sorts of Ever-Greens in a promiscuous Manner, so as to grow all in a Thicket; which has a prodigious fine Effect.

In this very Manner are planted two beautiful Mounts in the Gardens of the Honourable Sir Fisher Tench at Low Laxton in Essex.

XIV. That the Walks leading up the Slope of a Mount, have their Breadth contracted at the Top, full one half part; and if that contracted Part be enclosed on the sides with a Hedge whose Leaves are of a Light Green, 'twill seemingly add a great Addition to the Length of the Walk, when view'd from the other End.

XV. That all Walks whose Lengths are short, and lead away from any point of View, be made narrower at their further Ends than at the hither part; for by the Inclination of their Sides, they appear to be of a much greater Length than they really are; and the further end of every long Walk, Avenue, etc., appears to be much narrower than that End where you stand.

And the Reason is, that notwithstanding the Sides of such Walks are parallel to each other, yet as the Breadth of the further End is seen under a lesser Angle, than the Breadth of that Part where you stand, it will therefore appear as if contracted, although the Sides are actually parallel; for equal Objects always appear under equal Angles, Q.E.D.

XVI. That the Walks of a Wilderness be never narrower than 10 feet, or wider than 25 feet.

XVII. That the Walks of a Wilderness be so plac'd as to respect the best Views of the Country.

XVIII. That the Intersections of Walks be adorn'd with Statues, large open Plains, Groves, Cones of Fruit, of EverGreens, of Flowering Shrubs, of Forest Trees, Basons, Fountains, Sun-Dials, and Obelisks.

"When in the Garden's Entrance you provide,
The Waters, there united, to divide :
First, in the Center a large Fountain make;
Which from a narrow Pipe its Rise may take,

And to the Air those Waves, by which 'tis fed,
Remit agen; About it raise a Bed

Of Moss, or Grass; but if you think this base,
With well-wrought Marble circle in the Place."

XIX. That in those Serpentine Meanders, be placed at proper Distances, large Openings, which you surprisingly come to; and in the first are entertain'd with a pretty Fruit-Garden, or ParadiceStocks, with a curious Fountain, from which you are insensibly led through the pleasant Meanders of a shady delightful plantation; first into an even Plain environ'd with lofty Pines, in whose Center is a pleasant Fountain adorn'd with Neptune and his Tritons, etc., secondly into a Flower Garden, enrich'd with the most fragrant Flowers and beautiful Statues; and from thence through small Inclosures of Corn, open Plains, or small Meadows, Hop-Gardens, Orangeries, Melon-Grounds, Vineyards, Orchards, Nurseries, Physick Gardens, Warrens, Paddocks of Deer, Sheep, Cows, etc., with the rural Enrichments of Hay Stacks, WoodPiles, etc.

"Which endless are, with no fixed Limits bound,
But fill in various forms the spacious Round,
And endless Walks the pleas'd Spectator views,
As ev'ry Turn the verdant scene renews.'

These agreeable surprising Entertainments in the pleasant Passage through a Wilderness, must without doubt, create new Pleasures at every Turn: And more especially when the Whole is so happily situated, as to be blessed with small Rivulets and purling Streams of clear Water, which generally admit of fine Canals, Fountains, Cascades, etc., which are the very Life of a delightful rural Garden.

"Of pleasant Floods, and Streams, my Muse now sings,
Of chrystal Lakes, Grotts, and transparent Springs;
By these a Garden is more charming made,

They chiefly beautify the rural Shade."

And to add to the Pleasure of these delightful Meanders, I advise that the Hedge-Rows of the Walks be intermix'd with Cherries, Plumbs, Apples, Pears, Bruxel Apricots, Figs, Goose

berries, Currants, Rasberries, etc., and the Borders planted with Strawberries, Violets, etc.

The most beautiful Forest-Trees for Hedges, are the English Elm, the Dutch Elm, the Lime-Tree, and Hornbeam: And although I have advis'd the Mixing of these Hedges of ForestTrees with the aforesaid Fruits, yet you must not forget a Place for those pleasant and delightful Flowering-Shrubs, the White Jessemine, Honey Suckle, and Sweet-Brier.

New Principles of Gardening, or The Laying out and Planting Parterres, Groves, Wildernesses, Labyrinths, Avenues, Parks, etc., after a more Grand and Rural Manner than has been done before. 1728.

HOME,

CHAPTER VII.

THE SENTIMENTAL, LANDSCAPE, AND PARK SCHOOLS OF GARDEN

ING, FOUNDED UPON PAINTING; AND THE CHINESE AND
ENGLISH 'NATURAL' STYLES IN THE SECOND HALF OF THE
EIGHTEENTH CENTURY.

HENRY THE emotions raised by the fine arts, are generally too nearly
related to make a figure by resemblance; and for that
LORD
KAMES reason their succession ought to be regulated as much as possible
(1696-1782). by contrast. . . . In gardening there is an additional reason for
the rule the emotions raised by that art are at best so faint, that
every artifice should be used to give them their utmost strength :
a field may be laid out in grand, sweet, gay, neat, wild, melancholy
scenes; and when these are viewed in succession, grandeur ought
to be contrasted with neatness, regularity with wildness, and gaiety
with melancholy, so as that each emotion may succeed its opposite:
nay it is an improvement to intermix in the succession, rude, un-
cultivated spots as well as unbounded views, which in themselves
are disagreeable, but in succession heighten the feeling of the agree-
able objects; and we have nature for our guide, who in her most
beautiful landscapes often intermixes rugged rocks, dirty marshes,
and barren stony heaths.-Elements of Criticism. (Resemblance
and Contrast.)

Gardening, besides the emotions of beauty by means of regularity, order, proportion, colour, and utility, can raise emotions of grandeur, of sweetness, of gaiety, melancholy, wildness, and even of surprise or wonder. . . . In gardening as well as in architecture simplicity ought to be the governing taste. Profuse ornament hath no better effect than to confound the eye, and to prevent the object from making an impression as one entire whole.

The simplest idea of a garden, is that of a spot embellished with a number of natural objects, trees, walks, polished parterres, flowers, streams, etc. One more complex comprehends statues and buildings, that nature and art may be mutually ornamental. A third, approaching nearer perfection, is of objects assembled together, in order to produce, not only an emotion of beauty, essential to gardens of every kind, but also some other particular emotion, grandeur, for example, gaiety, or any other of those above mentioned.

The most perfect idea of a garden is an improvement upon the third, requiring the several parts to be arranged in such a manner, as to inspire all the different emotions that can be raised by gardening. In this idea of a garden, the arrangement is an important circumstance; for it has been shown that some emotions figure best in conjunction, and that others ought always to appear in succession and never in conjunction.

Kent's method of embellishing a field is admirable; which is, to paint a field with beautiful objects, natural and artificial, disposed like colours upon a canvas. It requires indeed more genius to paint in the gardening way in forming a landscape upon a canvas, no more is required but to adjust the figures to each other: an artist who lays out ground in Kent's manner, has an additional task; he ought to adjust his figures to the several varieties of the field. . . .

It seems to me far from an exaggeration that good professors are not more essential to a college, than a spacious garden, which ought to be formed with the nicest elegance, tempered with simplicity, rejecting sumptuous and glaring ornaments. In this respect so grand and important, the university of Oxford may justly be deemed a perfect model.-Ibid. (Gardening and

Architecture.)

Millin, (Dictionnaire des Beaux Arts) thus comments on the above :

"On peut dire que ce chapitre fut le prélude d'un bavardage esthétique et vague qui a été à la mode pendant quelque temps