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trees which are not indigenous to the country, and he arranges them so as to form
picturesque groups, and to hide defonnities in the landscape.
1467. Design in landscape-gardening in the modern style can only be shown by a selection
and combination of beantiful objects found in natural scenery ; and hence it is, that
the study of pictures by the best artists is so useful and important to the landscape-
gardener who wishes to attain eminence in liis art. “ We may look upon pictures,”
obsci-ves Price, “ as a set of experiments of the diifcrent ways in which trees, buildings,
water, &c,, may be disposed, grouped, and accompanied in the most beautiful and striking
manner, and iu every style, from the most simple and rm-al to the grandest and most
ornamental; many oi' those objects, that are scarcely marked as they he scattered over
the face of nature, when brought together in the compass of a small piece of canvass, arc
forcibly impressed upon the eye, which by that means learns how to sepai-atc, to select,
and to combine.” (Price on the Picturesque, ed. 1796, p. 6.)
1468. Landscape-gardeners in the modern style should not, however, confine themselves
to the study of pictures. “ However highly I may think of the art of painting,” observes
Pi-ice, “ notliing can be farther from my intention, than to recommend the study of
pictures in preference to that of nature, much less to the exclusion of it. Whoever
studies art alone will have a narrow pedantic manner of considering all objects, and o f
referring them solely to the minute and particular purposes of that art to wliich his attention
has been particularly dii-ected. The use of studying pictures is not merely to make
us acquainted with the combinations and efiects that are contained in them, but to guide
us, by means of these general heads of composition, in our search of the numberless and
untouched vai-ietics and beauties of natm-e ; for as he who studies art only -will have a
confined taste, so he who looks at nature only will havo a vague and unsettled one.”
Tlie landscape-gardener has also the charm of reality in his works, which the landscape
painter w an ts ; and thus the power of calling forth pleasurable sensations by the association
of ideas is possessed by the landscape-gardener to a much greater extent than by
the landscape-painter; as the reality of landscape scenery affects the mind much more
than any powers of colours and canvass, even though their combinations are iiifiuenced
by a master mind. When we look at a picture, however beautiiul it may be, we know
that it is not real, and we feel h a lf ashamed of the emotions which it may produce in our
minds, because wc know they are all founded on illusion; but if the skill of the landscape-
gardener permits us to catch a partial view of even a common English landscape, the
imagination is instantly set to work to heighten the scene of which a glimpse has been
obtained, and the association of ideas instantly brings a crowd of pleasing sensations-
into the mind.
1469. Fitness, or tho proper adaptation of means to an end, is the second source of the
relative beauty of foi-ms. Considered in relation to the parts of a building, it is generally
denominated proportion, and refers to the adequate strength of certain props to bear certain
superincumbent parts, &c. In the detail of the ancient, and in scenes of relative
beauty in the modern, style of gardening, it relates to the magnitude and situation of
buildings, and other artificial objects, relative to natural ones ; to the extent of the different
scenes or constituent parts of a residence, compared with the whole; to the
propriety and congraity of certain objects as ornaments; and, in general, to the
adequacy of the means to the end, whatever these means or that end may be.
1470. The doctrine o f fitness should never be forgotten in laying out grounds, as it is
of the utmost importance to adapt the style employed to the situation; as what would
look admirably well in one situation would appear ridiculously incongruous in another.
“ There seem in nature,” says Whately, “ to be four different dispositions of grounds
distinet and separate from each other ; and which create distinct and separate sentiments.
The first situation is that of a high-land cou n try ; consisting of great and steep mountains,
rocks, lakes, impetuous rivers, &c. The sentiment which a situation like this
creates in the breast of a beholder is obviously, and every one feels itj that of grandeur.
The next is what one may call a romantic disposition of grounds, consisting of sunk
valleys, woods hanging over them, smooth rivers, the banks steep but accessible, and
the rocks appearing high, not so much from thcir own height, as from the trees which
crown, and the wild birds which are continually hovering over, them. Such a situation
is generally destitute of prospect; but then, in return, both the ivhole and the parts of
it being precisely marked, give the same room to the imagination of the landscape-
gardener, that they give to the landscape-painter. The sentiment which such a situation
seems to flatter, is that of composure of mind, and perhaps even of melancholy. A third
disposition is that of grounds nmning, by gentle falls and risings, easily into each other.
Such a situation, as it is generally attended with great verdure, cultivation, and populousness,
naturally creates in the mind that sentiment of cheerfulness which society and
action are apt to create. The last situation is that of a dead flat. A situation of this
last kind may, from its verdure, or from its extent, or from its contrast with other grounds
that sun-ound it, create some particular sentiment, but merely considered in itself, it
appcai-s to create little or none.” (Essay on Gardens, p. 143.)
1471. Utility is the third som-ce of the relative beauty of forms. None of the other
beauties will compensate for the entire want of utility in any scene of arcliitecture or
gardening. Objects at first thought beautiful, soon lose this expression when they arc
found to be of no use ; and others, the first impressions produced by which are disagreeable,
are felt to become bcautiftil in proportion as they are known to be useful. “ This
species of beauty,” Alison observes, “ is in itself productive of a much weaker emotion
than that wliich arises from the different sources of ornamental beauty ; but it is of a
more constant and permanent kind, and much more unifoi-mly fitted to excite the
admh-ation of mankind.” (Essays on Taste, vol. ii. p. 201.) “ To miite these different
kinds of beauty, to dignify ornamental forms by use, and to raise merely useful fonns
into beauty, are the gi-eat objects of ambition among every class of artists. Wherever both
these objects can be obtained, the greatest possible beauty that form can receive will be
produced. But as this can veiy seldom be the case, the following i-ulcs seem immediately
to present themselves for the direction of the artist : — 1. That where the utility of forms
is equal, that will be the most boaiitifiil to which the most pleasing kind of expression is
given. 2. That where those expressions are at variance— when the beauty of the form
cannot be produced without sacrificing its utility—that fonn will be most universally and
most pei-manently beautiful, in which the expression of utility is most fully preserred.”
(Essays, vol. ii. p. 202.) Among tho vai-ious modifications of utility may be mentioned,—
for the purpose of habitation, good air and water, a genial climate, fertile soil, cheei-ful
prospect, and suitable neighbourhood, &c. Convenience must be joined to use, comforts
to conveniences, and luxuries to comforts. Exercise, whether in the shape of walking,
riding, or driving, requires to be provided for ; and recreation, whether in the common
field sports, athletic games, or in botanical, agricultural, and other useful, elegant, or
scientific pursuits, must be kept in view : rm-al fetes and amusements might also be
enumerated.
1472. Accidental associations form the last class of relative beauties, and are “ such
associations as, instead of being cominon to all mankind, arc peculiar to the individual.
They take thcii- rise from education, from [leculiar habits of thought, from situation, and
from profession ; and the beauty they produce is felt only by those whom similar causes
have led to the formation of similar associations.” (Stewart’s Essays.) Among these may
be reckoned classical and other historical associations. The influence of the former in
architcctm-e is well knmvn ; the latter often add chai-ms to a spot, in no respect remarkable
to those who are unacquainted with its histoiy. “ Classical associations,” Stewai-t
observes, “ have added immensely to our natm-al resources, but, at the same time, warped
our tastes in vai-ious instances ; ” acquiring, as Alison adds, “ a superiority over the more
permanent principles of beauty, and dctennining for a thne the taste of nations.” National
associations are also frequently at variance with such as are universal, and have, perhaps,
greater influence than any other associations whatever. (Steivart’s Essays.) Eersonal
associations are such as arise from the accidental style of natural beauties to which we
have been accustomed in our youth. Many particulai-s come under this head, which it
would be tedious to enumerate ; but one mode in which vanity and selfish feeling display
themselves deserves particulai- notice, as intimately connected with the business oi' the
landscape-gardener. I t is that interest which the attachment to property creates in men’s
minds, “ rendering them alive to every ti-ifling recommendation belonging to what is
theh- own, while it blinds them to the most prominent beauties in the property of their
neighbours.” (Stewart’s Essays, p. 468.)
1473. Appropriation, or such an an-angement as shall, either in reality or appeai-ance,
render all, or the greater part, of what we see from a country seat om- own, is a consequence
of personM. associations. The simplest way of effecting this, is by shutting out
all objects which do not conespond with the idea, by means of walls or plantations. A
more refined mode is, by harmonising the scenery ; by adopting some of the foi-ms,
colours, and arrangements, in our own ten-itory, which appear in those of our neighbours,
as seen from tlie house, or from some particular points of view. According to Whately,
“ one property of a riding is to extend the idea of a seat, and appropriate a whole
country to the mansion.” Eor this pm-pose, he requires the road of what he calls a
riding to be different from common roads in form and preservation, and distinguished
by accompaniments borrowed from the park or garden, &c. Knight strongly objects
to appropriation, and ridicules certain attempts of this sort, made by placing the family
arms on the inns and public-houses of the neighbom-hood, and on “ stones with distances,”
as, he says, was recommended by one improver. Girardin also objects to the principle ;
but Repton, and, we believe, almost eveiy other professional man, finds it a veiy principal
object of attention, Repton defines appropriation to be, “ that command over tlie
landscape visible from the windows, which denotes it to be private property belonging
to the place.” “ A view from a London house into a square or into the parks may be
cheerful and beautiful, but it wants appropriation ; it wants that charm which only
belongs to ownership— the exclusive right of enjoyment, with the power of refusing that
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