as any deformity; though, even here, connection and general harmony with what is
rxtpi-ior will add beauty to wliat is witliin. , o » i •
L i e.’ The details o f planting in this style wiU be found under the head of Arbonculture.
S e c t . IU, Operating with Water.
1517 Water is a material of so captivating and interesting a description in the differ-
ent characters in which it occurs in natm-e, that no -view can be reckoned complete m
which it does not compose a featm-e. Indeed, as Whately observes, ^ it is always le -
grettedwhen wanted; and no large place can be supposed m which it may not be
ao-reeable I t accommodates itself to every situation, is tho most mterestmg object m a
to d s c a p e , and the happiest circumstance in a retired recess ; it captivates the eye at a
distance, invites approach, and is delightful when near ; it refreshes an open exporore ;
it animates a shade, cheers the di'eai-incss of a -waste, and enriches the most crowded
view : in form, in style, and in extent, it m aybe made equal to t e greatest com^positions
or adapted to t e le a s t: it may spread in a calm expanse, to sooth the teanqmUity of a
neaocful scene; or, hurrying along a devious course, add splendour to a gfy, and
e Z L L a n o e L a tamaniie li tu a t io l So various are t e characters which water can
assume,“ that there is scarcely an idea in which it may not concur, or an im p r ^
which it cannot enforce: a deep stagnated pool, dank and dark with shades
dimly reflects, befits the seat of melancholy; even a i-iver, if it be sunk between two
dismal banks, and dull both in motion and colour, is hire a hollow eye which deadens
t e countenance ; and over a sluggard, silent stream, ereepmg heavily t e u g » J to g e to .
hangs a gloom, which no a it can dissipate, nor even t e sunshine disperse. A gently
muiinuring rill, clear and shallow, just gurgling, just dunphng, imposes silence, suits
with solitude, and leads to meditation : a brisker cm-ent, which wantons m
over a bright sandy bottom, or babbles among pebbles, spreads cheerfulness all around
a greater rapidity, and more agitation to a certain degree, are animating; but m excess,
instead of wakening, tbey alarm the senses ; the roar and the rage of a to n ent, its force,
S L I L e e Z s im p Z o s Z tend to inspire teraor ; ^ tei-ror which, whether as cause
01- effect, is so nearly aUied to snblimity.” (Obs. m Modem G a rd c n p , p. 36.)
1518. In the ancient style water forms a part of every garden t e various artiflcial
eharactcrs which it there assumes of oblong canals, ponds, basms, cascades, and yefe
d’eau; and, in modern improvement, such is the value attached to its effect that no
ffiace is deemed perfect ivithout a river or la k e ; and such t e mdiscriminate desu-e of
obtaining ornaments of this description, that nature has heen too frequently disregaided
in their form and situation. Of t e characters which water assumed under the geometric
style, we can only observe, that their names convey, in a gi'eat dep-ce, an idea of t e
forms Their situations were near t e mansion ; and then marginal accompaniments of
masonry, tu rf walks, and hedges, were determined hy the architecturia fmms and lines
r f the L p ita l feature in the scene. The choice, from t e most mtacate and curious
foimtains to t e plain oblong canal, depended on t e splendom- of Z „ L ? o L o S e d
very little on natm-al situation. The supply was generally obtained from some concealed
reseraom.^^ ^ ^
and their accompaniments ; and of each of tliese natural chpacters we shall remaik t e
leading circumstances in the originals and the imitations. A ll water is either ™ m n g
or stagnant. Lakes, ponds, and pools, are of t e latter class ; rivers rivulets, and n l s,
of te tao rm er description. In certain situations, lakes may be created where t e supply
c 2 “ 2 o d ia te " ; rivers and rills only when it is abundant Both " h ^ ^ ^
they exist iu nature, may be improved by studying t e natural characteiistics of each
" '’S . Sititation, relatively to the character o fth e grounds s u fa c e i s& c fii'St consideration
respecting water, in whatever form it may appear No s ito tio n in which this
material may be supposed to exist and expand itself into a b o d p ran be tiMy natural, that
is not a vale, plain, or hoUow. Mountain streams are out of t e question ; and smaU
lakes or pools, in hoUows on elevated grounds, are more to be considered as
than as L n e r a l nature. Even artiflcial lakes or rivers on a considerable scale to be
natural, must either be, or seem to be, situated in the lo-west part of the landscape t e n
under t e eye. I f othei-wise, if placed on t e side of a d e c te ty oyer which t e eye cim
range at t e same time, it may be attractive to a stranger at first view ; but the want of
tm th or fidelity to the thing to be imitated, will soon bring on an increasing aveision to
T s f b Z L s L r S e n t f e v e l s , seen in t e same view, are vefy 'S w o
principle The little beauty they display as spots, ill compensates for the want of pro-
L e t y ; and t e leading idea wliich they suggest, is a question between their "
and their non-existence. The choice, therefore, as to t e situation of ivater, must ever
depend more on natural circumstances than proximity to thè mansion. Is then all water
to be excluded that is not in t e lower grounds ? We have no hesitation in answering
this question in the atfli-mative, so far as respects thè principal views, and when a lower
level than that in which the water is proposed to be placed is seen in the same view. But
in respect to recluse scenes, which Addison compares to episodes to the general design
we would admit, and even copy the ponds on the sides or even tops of hills, which may
be designated accidental beauties of nature. In confined spots thev are often a very great
ornament ; as a proof of which, we have only to observe some "of the subm-baii villas
round t e metropolis, where a small piece of water often comes in between the house and
the public road with the happiest effect.
1522. A beautiful lake, or part of a circuitous body of water, considered as a whole,
will be found to exhibit a form characterised by breadth r a t e r than length ; by that
degi-ee of regularity in its outline as a whole, which confers what, in common language,
is caUed shape ; and hy that irregularity in t e parts of this outline, which produces
vaiiety and intricacy. Supposing t e situation to be fixed on for the imitation of a
lake, the artist is to consider thè broadest and most circuitous hollow as his principal mass
or breadth of water, which he must extend or diminish according to the extent of aquatic
views the place may require. From this he may continue a chain of connected masses
of water, or lakes of different magnitudes and shapes, in part suggested by the character
of the ground, in p ait by the facilities of planting near them, and in pait by his own
views of propriety and beauty. The outline of t e plan of the lake is to be vai'ied by the
contrasted position of bays, inlets, and smaller indentations, on the same principles which
we have suggested for varying a mass of wood. To t e iiTegularity of outlines so produced,
islands and islets may be added, on t e same principle and for the same objects
as thickets and groups. This will complete the character and beauty of the plan
of the water.
1523. B u t the grand effect o f water in landscape depends on wood as its accompaniment
The variety and intricacy of outline, the reflection of fom s and colours, the shady re?
cesses m d flickering lines of light, all depend on trees. These are not to bo sparingly or
indiscriminately scattered around t e mai-gin, but liberally in some places, for t e sake
of a contrasted mass of grateful colour or shade, to relieve the bi-illiancy of the water ;
and with discrimination ovoi-y where, to mark the beauties and heighten the variety of t e
outline, without destroying breadth of effect, or the fonnation of a whole, either as respects
the water alone, or the entire residence.
1524. The marginal banks of water in nature are tame or bold, gravelly or sedgy,
stony or rocky, according to t e character of t e surrounding' ground. Ai't, therefore!
must imitate each in its proper place, not always hy a studious pictm-esque an-angemcut
of the marginal accompaniments in each case, hut by excavating the ground-work, planting
the trees and shrabs, and leaving the rest to t e motion of thè waves of tho water.
After thè effects of one winter, stones or gravel may be deposited in spots suitable for
stony or gravelly shores : but to enter into this, and many other cii-cumstances in the
imitation of lakes, would exceed our present limits. We add two cautions ; the flrst is,
in all cases of the beautiful picturesque, so to an-aug-e, by puddling and under-draining,
that a marshy appearance may not surround the lake ; and that rashes, and such aquatic
plauts, may not extend f a r t e r than a few feet or yards from the margin of the water.
The other respects islands, which are the gi-eatest ornaments to lakes when properly disposed
; but an island which is placed in the centre, or in any situation where it does not
connect with other islands, or with t e shore, so as to fom part of a prominence or recess,
is injurious to the effect of the whole.
1525. Rivers and rills, we have said, are rather to he improved than created ; for we
cannot sympathise with that taste which dfrects t e mimicry of so noble a character as a
river, or is satisfied with a nearly stagnated riU. We do not consider the river at Blenheim
as an exception, because that piece of water was fom ed by widening a considerable
brook. We allude to those wavy seipentiue canals, which are never mistalien for natm-al
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