642 A R T O F G A R D E N IN G . P a r t H I.
stvosity rektively to tho surrounding soonefy, or to that whole of which it should form mmmmmsmimmmm s i i i m m m i M i
W M M m s s s m
■ orifiL of which maybe readily increased or
diminitoed, will lead to the exact power S sS feo„np the water SmSmlSimgfSmIs. vases, shells (as toe 6^ - / Chama),
3 HS “ r=S3Sk-.:=.-.---s family chapels, elock-towers, and domestic oflices.
StjBSECT. 3. Characteristic Decorations.
; ■ £ £ s t a E X t a S : : . n ; z 7 r . . .
t a £ , ” £ “ " £ — . . 1 - 0 « - r t r i i s r s
s i t a s f i “ . i i s r r i . r r ;
\ Z : Z o t l ? have ? en eagerly songht after in gardens both on
foiminir a suitable habitation for certain descriptions of plants. rknt-rocXworKS a
protubfrant surfaces, or declivities irregularly covered with rocky fragments, knd-stone,,
conglomerated gravel, vitrified bricks, vitrified scoriæ, flints, shells, spar, or other eai'tliy
and hard mineral bodies. Such works are, in general, to be looked on more as scenes
of culture, than of design or picturesque beauty.
2270. Rockw orks f o r effect o f character require more consideration than most gardeners
are aware of. The first thing is to study the character of the country, and of the
strata of earthy materials, whether earth, gravel, sand, or rock, or a mere nucleus of
either of these, such as they actually exist, so as to decide whether rocks may, with .
propriety, be introduced at all ; or, if to be introduced, of what kind and to what
extent. The design being thus finally fixed on, the execution is more a matter of labour
than of sldll.
2271. H ie ru in s of objects adapted by their natures or constructions to brave time,
have always excited veneration ; and this sentiment, forming a contrast with those
emotions raised by mere verdant scenes, has ever been esteemed very desirable in gai-dens.
Hence the attempt to produce them by foi-ming artificial ruins, which, being absolute
deceptions, cannot admit of justification. If any thing is admissible in this way, it is
the heightening the expression of i-uins which already exist, by the addition of some
parts, wliich may be supposed to have existed there when the edifice was more entire.
Thus, the remains of a castle-wall, not otherwise recognisable from that of a common
house or enclosure, may be pierced with a window or a loop-hole, in the style appropriate
to its date, or it may be heightened or extended in some degree. In other cases, tun-ets,
or pinnacles, or battlements, or chimney-pots, may be added according to circumstances,
and as a judicious and experienced taste and antiquarian architect may direct. Unless
the style of the age of the ruins be adopted, the additions become worse than useless to
all such as are conversant in the histoi-y of architecture, of which an example may be
given in the modern Gothic turrets, formerly in the gi-ounds of White Knights, and
which were intended to represent the abbey of that name, founded soon after the Norman
conquest.
2272. A n tiq u itie s are nearly allied to ruins, bnt differ from them in being of some
value as objects, independently of locality. They may be i-alnable from their great age,
as druidical ; from historical traditions connected with them, as stones indicating the site
of a battle, the cross-stone of an ancient town, &c. ; or fi-om the excellence of the workmanship
or the material, as in the fragments of Grecian and Roman scidpture and
architecture. This class of decorations is rci-y common in Italy, and especially near
Rome and Naples. Viewed as pai-ts of landscape, almost every thing depends on their
union with the surrounding sccnei-y.
2273. R a ritie s and curiosities, like antiquities, possess a sort of absolute value ; but
the sentiments to which they give rise are more alhed to wonder than veneration. They
are occasionally introduced in gardening, such as the jawbones of the whale, basaltic
columns, lava blocks, pillars of earthy rock-salt. The tuffa, corals, and.madrepores
brought from Otalieite by Captain Cook, as ballast, now form part of the rockwork in
the Chelsea garden. Cliinese rocks, idols, and otlier Chinese garden-ornaments, arc
sometimes admitted, not as imitations of rocks or sculptm-cs, but as curiosities.
2274. M o n um e nta l objects, as obelisks, columns, pyramids, may occasionally be introduced
with great effect, both in a picturesque and historical view, of which Blenheim,
Castle Howard, &c., afford fine examples ; but thcir introduction is easily can-ied to the
extreme, and then it defeats itself, as it did at Stowe.
2275. Sculptures. Of statues, therms, busts, pedestals, altars, lu-ns, and similar
sculptures, nearly the same remarks may be made. Used spai-ingly, they excite interest,
often produce character, and ai-c always individually beautiful, as in the pleasure-grounds
of Blenheim, where a few are judiciously introduced ; but profusely scattered about, they
distract attention.
2276. Vegetable sculptures are vei-y appropriate in partcn-es and other scenes in the
ancient style. That they may be executed with con-ectness and without loss of time, the
skeleton should he formed of wire, within which all the shoots should be confined ; and
when once the form is filled up with vegetation, the gardener has only to clip the protruding
shoots.
2277. In sc rip tio n s, as historical records, without comment, may in some cases be
admissible ; as the date when any work was begun and finished, the height of elevated
points above the level of the sea, or relatively to other sun-ounding elevated and conspicuous
objects, &c. &c. ; but sentimental and religious inscriptions cannot be approved
of by men in general
2278. E y e -tra p s, painted perspectives, on walls or boards, as terminations, mock
hermits, soldiers, banditti, wooden lions, sheep in stucco, or any other figures of men or
animals, intended to pass for realities, though still used in Iloiland and France, may be
pronounced as too puerile for the present age. If they are still admired by the city mob
in a suburban tea-garden, so much the better ; the mob must be pleased as well as their
superiors, and the rich vulgar may join with them ; but the object of all the arts, whether
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