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I f the fence consists of a great uiimbcv of turns of different lengths, by removing hoth
the mound and part of the surface on each side of tho drain, a small winding hollow or
vale may be formed; the effect of which may be heightened, by placing the earth removed
on adjoining indications of natural eminences ; not so as to form knolls, but so as
to connect and harmonise with the prevailing idea of expression. The most simple and
obvious improvement of exhausted quarries and dry pits, is to plant th em ; but this,
though it will form a scries of pleasing scenes, is not always consistent with the general
expression to be created, and such groups as would arise from these spots might destroy
breadth of light, and connection, independently of excluding distant objects. In this
case, tliey must be filled up by under-growths, or by lowering the adjoining sui'face in
such a way as not to interfere with general effect, and to leave a sufficient descent for the
surface-water. Where broken ground enters into the idea of the composition to be
effected, open di'ains, or hollow pits, afford fine sources of picturesque beauty, especially
if the ground is diy, or can be readily under-drained. This chai'acter, however, can
seldom be inti-oduced as an original feature; but in ground natm'ally leading to abrupt
and broken lines, it may be more desirable to improve this expression, than to attempt
creating a more polished surface. In cases of this sort, almost everything depends on
the introduction of wood, copse, and verdant roughnesses, to harmonise the broken
surface; for mere broken ground, ivithout the chai'acter of luxuriance and wildness communicated
by wood, is seldom better, on a small scale, than a surface deformed by scars.
1501. The art o f the landscape-gardener is never more conspicuously displayed than
when he succeeds in turning a natm-al deformity into a beauty. In some cases this may
be effected with comparative ease, as, for example, in turning an old chalk pit into a
garden. In some cases this has been done ivith so much taste, as to surpass in effect
gardens which have been laid out with every advantage and choice of situation.
1502. Distant scenes o i a park, as hills or mountains, are only to be improved by
wood; and these remarks, in so far as they extend, will suggest not what is to be removed,
but what must be concealed. Many excellent hints on this part of the subject are to be
foimd in the picturesque tours of Gilpin, referring to ranges of hilly sceneiy iu different
parts of the countiy, of much of which he has given views. With respect to ground as
respects garden-scenery, almost the only writer who has treated of it at length is Whately,
whose excellent book, so frequently referred to by all succeeding writers on gai'dening,
ought to be in the hands of eveiy man of taste. In the chapter on ground in that work,
the author concludes with a salutary caution, which ought ever to be taken in connection
with the wisest ru le s ; “ a caution which has more than once been alluded to, must
always be had in remembrance; never to suffer general considerations to interfere in
extraordinarily great effects, which rise superior to all regulations, and perhaps owe part
o f tlieir force to their deviation from them. Singulai-ity causes at least surprise, and
surprise is allied to astonishment. These effects are not, however, attached merely to
objects of enormous size; they frequently axe produced by a gi-eatness of style and character,
within such an extent as ordinary labour may modify, and the compass of a garden
include. The caution, therefore, may not be useless within these nan'ow bounds ; but
nature proceeds still farther, beyond the utmost verge to which a rt can follow, and, in
scenes licentiously wild, not content with contrast, forces even contradictions to unite.
Th e grotesque, discordant shapes ivhich are often there confusedly tumbled together,
might sufficiently justify the remark. But the caprice does not stop h e re ; to mix with
such shapes a foi*m perfectly regular, is still more ex trav ag an t; and yet the effect is sometimes
so wonderful, that we cannot wish the extravagance corrected.” (Obs. on Mod.
Gard., p. 23.)
S e c t . II. Operating with Wood.
1503. Wood produces almost all the grand effects in both styles of improvement; for
trees, whether in scattered forests, tliickcts, or groups, or in compact geometric squares,
avenues, or rows, constitute the gi'eatest charm of every countty. Trees improve the
outlines of most buildings (fig. 248.), and without them the grounds of a residence
would often be nothing more than an unmeaning profusion of winding roads or walks.
A tree in itself is, indeed, tho noblest object of inanimate n a tu re ; it combines eveiy
species of beauty, from its sublime effect as a whole, to the individual beauty of its leaves;
it exhibits that majestic uniformity and infinite variety which constitute the essence of
relative b eau ty ; and the natural expressions of individual species are as various as are
their forms and magnitude, their utility to man, and the situations, soils, climates, and
other general and accidental circumstances of which they are indications.
1504. Trees are the most striking objects that adorn the fa c e o f inanimate nature. I f we
imagine for a moment that the surface of Europe were totally divested of wood, what
would be our sensations on viewing its appearance ? Without this accompaniment, hiUs
and valleys, rivers and lakes, rocks and cataracts, all of themselves the most perfect that
could be imagined, would present an aspect bleak, savage, and uninteresting. But, let
OPERATING W ITH WOOD,
248
the mountains be covered with wood, and the water shaded by trees, and the scene is
instantly changed ; what was before cold and ban-en, is now rich, noble, and full of
variety. In travelling through a naked country, a whole unvaried horizon is comprehended
by the eye with a single glance ; its surface is totally destitute of intricacy to
excite cm-iosity and fix attention ; and both the eye and the mind are kept in a state of
perpetual wcai'incss and fatigue. But in a wooded country, the scene is continually
changing ; the trees form a varied boundaiy to every thing • around, and enter into
numberless and pleasing combinations with all other objects ; the eye is relieved without
disti'action, and the mind frilly engaged without fatigue. I f we examine even a tree by
itselt; the intricate formation and disposition of its boughs, spray, aud leaves, its varied
form, beautiful tints, and diversity of light and sliade, make it far surpass every other
object ; and, notwithstanding this multiplicity of separate parts, its general effect is
simple and grand. I t is in the arrangement and management of trees and slirubs that
the art of the landscape-gardener principally consists ; and of all the materials of landscapes
it is the one most completely within his control. Earth and rocks are frequently
too ponderous for him to contend with, buildmgs are often too expensive, and water is
only to be met with in certain situations and under particular circumstances ; but we
rarely find a spot where trees cannot fre planted, and we can hardly conceive of one
where they will not greatly add to the beauty and variety of natural scenery.
1505. In planting in ihe picturesque style, great attention should be paid to the form
and colour of the trees and shrubs employed. Some trees ai'e very broad in proportion
to their height, such as the oak, the Scotch elm, and the horse-chestnut ; while others
are tall and naiTow, such as the larch and the spruce fir. Others again arc of light
foliage, such as the ash and the poplar. In ornamental planting advantage should be
taken of these peculiarities, and also of peculiarities of colour in summer and autumn.
Some trees are of a very dark green, almost black, such as the Irish yew ; others are of
a yellowish green, as the common laurel ; others arc of a bluisli green, such as the
bladder senna ; some are tinged witli broivn, as the arbor vitæ ; and others white, such
as the abele tree, or white poplar, and some kinds of willow. Others have the foliage
tinged with red, as the scarlet maple and the Photinia ; and others have purple leaves,
such as the pm-ple beech. Various other colom's ai'e found in foliage ; and if they ai'e
studied carefully and mingled so as to produce a proper effect, the beauty of the plantation
will be very greatly increased.
1506. In particular situations the effect produced by the colours which trees assume in
autumn should be especially attended to, as the monotonous appearance of a plantation of
evergreens may be wonderfully relieved by introducing a tree whose leaves assume a
brilliant red in autumn, such as the scarlet oak, the Liquidámbar, or the wild cheny, or
where a climbing plant is admissible, the claret vine or the Virginian creeper. Other
trees may be inti-oduced with a view to their effect as regai-ds colour, particulai-ly the
American maples and oaks.
1507. In addition to the effect or expression o f trees individually, the mode of planting
them in masses must be considered by the landscape-gardener ; and all the modes of
planting which have been adopted arc generally resolvable into two kinds, viz. the
geometrical and the modern.
1508. In planting in the geometric style, the first consideration is the nature of the
whole or general design ; and here, as in the ground, geometric forms will still prevail,
and, while the masses reflect forms from the house, or represent squares, triangles, or
trapeziums, the more minute parts, characterised by lines rather than forms, such as
avenues, rows, clumps, and stars, &c,, are contained in pai'allelograms, squares, or circles.
In regard to the parts, masses and avenues should extend from the house in all dfrections,