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ESSAYS 
 
 ON 
 
 LANDSCAPE GARDENING. 
 
LONDON : 
 
 PRINTED BY S. AND R. BENTLEY, DORSET-STREET. 
 
ESSAYS 
 
 ON 
 
 LANDSCAPE GARDENING, 
 
 AND ON UNITING 
 
 PICTURESQUE EFFECT 
 
 WITH 
 
 RURAL SCENERY: 
 
 CONTAINING 
 
 DIRECTIONS FOR LAYING OUT AND IMPROVING THE GROUNDS 
 
 CONNECTED WITH A 
 
 COUNTRY RESIDENCE. 
 
 ILLUSTRATED BY SIX PLATES 
 
 BY RICHARD MORRIS, F.L.S. 
 
 SECRETARY TO THE MEDICO-BOTANICAL SOCIETY OF LONDON, AND AUTHOR OF 
 “ THE BOTANIST’S MANUAL.” 
 
 LONDON: 
 
 PRINTED FOR J. TAYLOR, AT THE ARCHITECTURAL LIBRARY, 
 HIGH HOLBORN. 
 
 1825. 
 

 
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PREFACE. 
 
 Many works have been written on the Scientific and 
 Botanical branches of Horticulture, while few have ap¬ 
 peared descriptive of the ornamental and decorative parts 
 of the science, particularly those which relate to the 
 tasteful display and improvement of Pleasure Grounds. 
 
 Taste, which is so various in all pursuits, may perhaps 
 be more easily defined when applied to the principles of 
 Landscape Gardening, than in any other department of 
 Art, where Taste is deemed essential to its importance. 
 
 There are beauties in Nature on which no contrariety 
 of opinion exists, and there are also deformities offensive 
 to every cultivated mind : on these assumptions, Decorative 
 Horticulture claims to be considered an Art, professing, as 
 
VI 
 
 PREFACE. 
 
 it does, to remove or veil objects repulsive to pleasing 
 sensations—to introduce objects of taste, and to excite 
 ideas of refined or delightful associations. Under these 
 considerations, it is presumed that a Work, having for its 
 basis a taste derived from Nature in her most agreeable 
 forms and hues, and connected with the beautiful and 
 picturesque, will prove acceptable to those who inquire 
 into this interesting subject, or who contemplate the im¬ 
 provement of their domains. 
 
 The theoretical Works which have appeared, have 
 been eminently serviceable in promoting a taste for 
 Landscape Gardening, by exciting an inquiry into its 
 principles, and a desire to see them reduced to practice. 
 
 The elegant Works of the late Mr. Repton have fur¬ 
 nished many admirable examples of judicious and beau¬ 
 tiful improvement in Scenery surrounding Villas and 
 extensive Domains; indeed the face of the country, where 
 his abilities have been called into action, has bloomed 
 with additional beauty. 
 
 On the subject of the Picturesque, the Essays of Mr. 
 Price may be considered to stand unrivalled : in the con- 
 
PREFACE. 
 
 Vll 
 
 troversy which existed between Mr. Price and Mr. Repton, 
 much has been elicited, and each has contributed im¬ 
 portant information on the subject; and also on the ever- 
 varying beauties connected with Landscape Scenery and 
 picturesque effect. 
 
 The elegant and pleasing Works of Mr. Gilpin also 
 have had an extensive influence in promoting correct 
 ideas of natural scenery. These Works are evidently the 
 productions of an enlightened mind, deeply conversant 
 with Nature in all her varied combinations. 
 
 Other writers on Landscape Scenery and Ornamental 
 Gardening have thrown considerable light upon the dif¬ 
 ferent branches of the Art: among these, Shenstone, 
 Mason, Knight, and Whately, have richly contributed; 
 for to them 
 
 “ Nature had unveiled her charms.” 
 
 That these Essays may concentrate scattered but in¬ 
 structive hints, may unite the result of an earnest appli¬ 
 cation to the effects of natural scenery as connected with 
 the Art of Landscape Gardening, may combine the in¬ 
 formation derived from professional pursuits in laying 
 
VIII 
 
 PREFACE. 
 
 out grounds, and that the annexed six Sketches may 
 serve to elucidate some particulars where description 
 might fail, and render the precepts contained in this 
 Work both clear and useful, is the sincere desire of 
 
 THE AUTHOR. 
 
 41 , Vincent Square, Westminster, 
 May 1825 . 
 
CONTENTS. 
 
 INTRODUCTION .... 
 Essay I. SITUATION AND STYLE OF BUILDING 
 
 II. EXTERNAL DECORATIONS 
 
 III. LAYING OUT GROUNDS 
 
 IV. PLANTING .... 
 
 V. WATER ..... 
 
 VI. RURAL ORNAMENTS 
 
 VII. DISTANT SCENERY 
 
 VIII. GENERAL APPEARANCES 
 
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INTRODUCTION. 
 
 Landscape Gardening has very properly been termed an imitative 
 art, for its object is to arrange, to form into symmetry, and to beautify 
 particular scenes, in agreement with the great original,— Nature ; and 
 the closer the adherence, the more pleasing and satisfactory will be 
 the effect. Considering the advancement in the arts and sciences 
 during the latter part of the last century, it is not surprising that 
 gardening should have undergone improvement; indeed, it would 
 have been extraordinary if this delightful art had been neglected. 
 
 In the works of Cicero and Pliny, we read of the formal and stiff 
 kind of gardening which then prevailed, such as clipped hedges 
 and long avenues of trees; and in Propertius we read of the intro¬ 
 duction of statues and jets d'eau. Pliny the younger has given an 
 account of his Villa at Laurentinum, situated some distance from 
 Rome ; he describes a variety of building attached to it, and the 
 
2 
 
 INTRODUCTION. 
 
 garden as being surrounded with hedges of Box, and that this 
 Villa was admired for its extensive prospects. 
 
 From the establishment of the ecclesiastical government of the 
 Popes in the eighth, to the end of the twelfth century, the Monks 
 were nearly the only class of persons in Europe who attended to 
 arts and sciences generally, and to decorative gardening in particular. 
 After which period, the style of gardening practised in Italy and 
 other civilised parts of Europe, consisted principally in tall clipped 
 hedges, square parterres fantastically planted, straight walks, and 
 trees uniformly lopped. 
 
 There can be but little doubt, that the Romans first introduced 
 gardening into this country; yet it was little attended to till near 
 the latter end of the sixteenth century. We are informed that 
 Hampton Court was laid out and planted by Cardinal Wolsey, and 
 that King Charles the Second employed Le Notre to plant the Parks 
 of Greenwich and St. James’s. Charles also planted the semicircle 
 in Hampton Court. Cashiobury, an ancient seat of the Earls of 
 Essex, was admired, in 1680, for being adorned with walks, ponds, 
 and other such elegancies. In 1683 the grounds of Wanstead House, 
 Essex, Sir Josiah Child’s, were considered worthy of notice. In the 
 reign of George the Second, Queen Caroline enlarged and planted 
 Kensington Gardens, and formed what is still called the Serpentine 
 River by uniting a number of detached ponds. Lord Bathurst was 
 
NTRODUCTION. 
 
 3 
 
 the first who deviated from straight lines, as applied to decorative 
 pieces of water, by following the natural curves of a valley, when 
 widening a brook at Ryskins, near Colnbrook. Lord Stafford, sup¬ 
 posing economy to have been the motive, inquired, “ What would 
 have been the additional expense to have made the banks of this 
 piece of water straight ?”' 
 
 It appears surprising, while pursuing this subject from the time 
 of Vespasian or Titus to the reign of George the Third, to find 
 that little improvement had been made in the style of Landscape 
 Gardening. 
 
 About this period, improvements more natural and elegant were 
 introduced by Kent, Brown, and others, which met with such general 
 approbation, that Sir William Chambers was induced to say, “ If this 
 mania be not checked, there will not remain three trees standing in 
 a line throughout the kingdom.” Since that period, however, the 
 taste for natural scenery has so much improved, that the specimens 
 of ancient taste in Landscape Gardening are now esteemed as remains 
 of antiquity; the most respected and distinguished of which may be 
 considered those grand avenues at Hampton Court and Windsor 
 Forest: such noble examples may with propriety be deemed worthy 
 of preservation. 
 
 Having taken this cursory view of the progress of Landscape Gar¬ 
 dening, it will be proper briefly to consider the nature of the Beau- 
 
INTRODUCTION. 
 
 4 • 
 
 tiful and the Picturesque: but these are terms on the true meaning 
 of which much controversy has arisen; and, as they are frequently 
 alluded to in the course of these Essays, it may be requisite that 
 they should be noticed with reference to the effect which each may 
 produce on the mind. Ideas of beauty vary as much as those of 
 taste, and the term beautiful is, perhaps, more extensively applied 
 than any other in the English language,—as, a beautiful tree, a 
 beautiful house, a beautiful picture, and a beautiful woman. It has 
 been asserted that uniformity amidst variety is essential to the cha¬ 
 racter of the beautiful; yet this cannot be the criterion in all 
 cases, as many objects please which possess but little variety : again, 
 colour is sometimes the agent in presenting and heightening the 
 character of beauty; figure, in numerous instances, also augments 
 and forcibly displays beauty; sometimes a regularly formed figure 
 appears beautiful, from the neatness and exactness of its workman¬ 
 ship ; a graceful variety, also, may be considered as another and 
 striking characteristic of the beautiful, which excites pleasing sen¬ 
 sation more often than the utmost regularity or just proportion of 
 form, as a winding river pleases more than a straight canal. Ho¬ 
 garth, for his line of beauty, adopted a waving line, like the letter S ; 
 and a curved line is the universal favourite of artists. All these pecu¬ 
 liarities, and their various combinations of effect, proceeding from 
 colour, regularity, and opposition, should be united and properly 
 
INTRODUCTION. 
 
 5 
 
 adjusted by the Landscape Gardener, in forming or improving plea¬ 
 sure-grounds. Park and landscape scenery are frequently viewed 
 as unadorned or natural productions ; but the general effect may, 
 notwithstanding, be improved and heightened by the assistance of 
 art, especially by the formation or adaptation of inequalities of sur¬ 
 face, by pieces of water, by statuary, and by ornamental buildings. 
 
 The investigation of the various sources of pleasing ideas con¬ 
 nected with the delight attendant upon the exhibition of beauty, 
 either in nature or in art, cannot here be inquired into; but it 
 will be necessary to ascertain the distinction between such objects 
 as may be considered beautiful, and such as may be considered 
 picturesque, with reference to Landscape Gardening. Those objects 
 which possess a degree of elegance in their construction, and give 
 pleasure by smoothness and neatness in their appearance, partake 
 of that quality denominated beauty; while such objects as appear 
 of an opposite character, are denominated picturesque : but, as this 
 may seem to apply to the surface only, it must be observed, that 
 a subject truly picturesque cannot partake in any great degree of 
 regularity ; its essential is, that it be diversified and rugged in its 
 appearance. A decorated lawn, or flower-garden, neatly trimmed 
 and preserved in order, presents the constituents of beauty; while 
 the rough and broken precipice, the sinuous and irregular banks 
 of a river, display the picturesque. 
 
G 
 
 INTRODUCTION. 
 
 As the picturesque requires variety, it is considered by some 
 authors that smoothness must form one of its constituent parts; and 
 that variety sometimes composes one of the essentials of beauty. 
 From this reasoning, it may be concluded that roughness must 
 also be one of the component parts of the beautiful; therefore, to 
 avoid perplexity, it may be advisable to pause here, since many 
 volumes have been written upon these subjects without affording 
 a more satisfactory result than may be deduced from this brief 
 sketch. What is here gleaned from the writings of others, may 
 be considered sufficient to give a pretty correct idea of the gene¬ 
 rally understood distinguishing characteristics of the beautiful and 
 of the picturesque. 
 
 Upon the subject of taste, a greater diversity of opinion has been 
 entertained than upon that of beauty. Alison says, “ Taste is that 
 faculty of the human mind, by which we perceive and enjoy whatever 
 is beautiful or sublime in the productions of nature or art.” 
 
 We are told by another writer, that taste is only the improve¬ 
 ment of ideas. It may be said, every one has naturally a portion 
 of taste, which is principally dependent upon education, and im¬ 
 proved by cultivated and elegant associations. 
 
 One author will not admit the possession of innate taste ; a second 
 asserts that taste proceeds from a conscious sense of beauty; a 
 third is of opinion that natural taste is that quick perception of the 
 
INTRODUCTION. 
 
 7 
 
 beauties or deformities of nature which enables a person at once to 
 decide. 
 
 This subject might be pursued through numerous volumes, until 
 the mind became fatigued, or perhaps bewildered, and still have 
 to regret the object of research remained in obscurity. 
 
 Thus much may be concluded upon the subject,—that taste is a 
 faculty of the human mind as generally diffused as any other; and 
 that it cannot be limited to the refined classes of society, since 
 persons in the humblest stations have discernment to discover, and to 
 be delighted with, the beauties of one subject more than with another; 
 still their ideas of taste are usually of an uncultivated description, 
 the objects with which they are pleased being of a ruder character 
 than those which are admired by polished and more enlightened 
 minds. This will induce the conclusion, that taste is a faculty 
 capable of improvement by education and elegant associations. 
 Although it is admitted that taste is universal, it is not believed 
 to be possessed in an equal degree by all; perhaps there is a greater 
 inequality in the distribution of this, than of any other faculty with 
 which the human mind is endowed. Taste is also assisted by what 
 is denominated genius. The term genius is frequently confounded 
 with that of taste; but, upon investigation, the difference is ob¬ 
 vious;—taste induces the admiration of any superior work of art, 
 while genius possesses the power of producing it. A person may 
 
8 
 
 INTRODUCTION. 
 
 have taste to admire a production in the fine arts, while he has 
 neither genius to conceive, nor talent to produce it; but where there 
 is genius, there will, in most instances, be taste also. 
 
 These brief observations by way of introduction, it is presumed, 
 will be sufficient, before proceeding to the subject of these Essays. 
 
THE SITUATION AND STYLE OF BUILDING FOR VILLAS. 
 
 The taste which at present exists for the enjoyment of rural 
 scenery, is such as to render the construction of a country residence 
 of interesting importance. The principal considerations in such 
 structures are, the situation and the character of the building. Un¬ 
 der the first head must be considered the quality, the temperature, 
 and the salubrity of the air, the supply of water, the facility of 
 access, and although last, not least, the beauties of the prospects 
 and the surrounding scenery: this latter, however, is of an improve- 
 able nature, and comes more especially within the scope of this 
 Essay. The next consideration is an appropriate style of architec¬ 
 ture, and the arrangement which shall afford the requisite domestic 
 
10 
 
 THE SITUATION AND STYLE 
 
 
 comforts and conveniences; but as this relates more particularly 
 to the department of architecture, on which numerous books have 
 been published, and as the aid of eminent professors may be procured, 
 it will not be expected that any extensive details upon that sub¬ 
 ject should here be noticed. However, it may be said, there is 
 scarcely any part of the Architect’s duty that requires more care 
 and attention than the selection of a spot well adapted for building 
 either a mansion or a villa. Previously to the erection of a dwell¬ 
 ing, it is most proper to consult the Architect as to the form and 
 plan of the proposed house, and especially as to the materials; and, 
 at all times, it would be advantageous to the proprietor, and satis¬ 
 factory to the Architect, if the Landscape Gardener were consulted 
 upon the most Appropriate situation. The various dependencies and 
 offices appertaining to a country villa, added to the effect that may 
 be produced by well-chosen and picturesque scenery, render ob¬ 
 vious the propriety of consulting those who have made the art of 
 Landscape Gardening, combined with rural improvements and do¬ 
 mestic conveniences, their peculiar study ; yet how frequently has it 
 occurred, that cottages, villas, and even mansions, have been erected 
 without duly considering these important points. The gross errors 
 and bad judgment frequently conspicuous in new buildings, which 
 of late have become so numerous, are too evident to need being 
 particularised: such errors can only be avoided by duly considering 
 all the required and necessary arrangements previously to the com- 
 
OF BUILDING FOR VILLAS. 
 
 11 
 
 mencement of the undertaking. The propriety and advantage of 
 consulting jointly the Architect and the Landscape Gardener have 
 been urged by many, and questioned by few; since it is obvious that 
 the latter ought, in part, to possess the qualifications of the former, 
 so unavoidably do his occupations blend into that art, when design¬ 
 ing and executing decorative and horticultural buildings. 
 
 Where extent of ground permits the choice of a spot on which 
 to erect a villa, when the hill, the slope, and the valley are alike 
 available, the extremes should be avoided. If a situation too ele¬ 
 vated be chosen, however important the building and extensive 
 the prospects from it, or impressive the view of it, much of its 
 grandeur will be lost from deficiency of a wooded back-ground: 
 it will also be too much exposed to bleak and cutting winds, to 
 the constant annoyance of the inhabitants, and which also check 
 the growth of vegetation, and consequently deprive the building 
 of those ornamental accompaniments which contribute so powerfully 
 to render the prospect at once elegant and interesting. 
 
 Another, and by no means an unimportant objection, is the 
 difficulty of access,—a sad example of which is reported of a cele¬ 
 brated villa in the neighbourhood of London, the elevated situation 
 of which has been productive of much complaint, and is said to 
 overbalance all the gratifications attendant upon the most elegant 
 and enchanting scenery the county of Surry can boast, which is not 
 to be exceeded in beauty in any county of England. 
 
 c 2 
 
12 
 
 THE SITUATION AND STYLE 
 
 Low ground, or the bottom of a valley, are equally objectionable; 
 for the view will be confined, scarcely admitting of improvement, 
 and a bad effect will be produced by diminishing in appearance the 
 extent of the building: it will also be liable to damps, and, by being 
 overshadowed, the free circulation of air will be impeded, and the 
 situation will ultimately be found both unpleasant and unhealthy. 
 Buildings of a light cottage description, in such situations, ap¬ 
 pear trifling and insignificant. 
 
 The best site for showing a villa to advantage, is on the brow 
 or near the summit of a wooded hill of moderate elevation; it is 
 also the best situation for the introduction of ornamental and deco¬ 
 rative accessories, as well in the gardens as in the shrubberies, in ac¬ 
 cordance with the buildings or with a bold and extensive scenery. 
 A villa thus placed, excites in the beholders the most pleasing ideas 
 of health and comfort, and of all those various enjoyments which 
 render life delightful: every particular object which is gratifying to 
 the eye of taste, will be seen to advantage; and from the surrounding 
 country the effect of the whole will be impressive and lasting. 
 
 Such a situation by nature possesses great advantages, and the 
 application of the decorative parts of Landscape Gardening should 
 be in conformity with the beauty and grandeur of the surrounding 
 scenery; one offensive object, one deviation from the true character 
 of this enchanting spot, in any accessory, will destroy that general 
 unity of effect which should be attentively studied and carefully 
 
OF BUILDING FOR VILLAS. 
 
 13 
 
 preserved. That the readers may clearly understand the precepts 
 here inculcated, and which are so important in the choice of a situa¬ 
 tion for a convenient and pleasant abode, in the first Plate are shewn 
 examples of houses placed in the situations alluded to; and they are 
 not imaginary, but such as may be seen in many parts of England : 
 a glance at this sketch, it is presumed, will determine the correct¬ 
 ness of what has been advanced, and which is the best situation. In 
 addition to the objections against the extremes of hill or dale, the 
 difference produced on the mind of the spectator by the effect of 
 either, individually considered, appears sufficient to induce a deter¬ 
 mination in favour of the intermediate situation. 
 
 Where a villa is placed upon a hill, unsupported by its natural 
 attendants, it will be found but a bad subject for the Painter’s art; 
 indeed, a building cutting the line of the horizon will ever present 
 a crude feature, either in a picture or in a landscape: the motives 
 and objects of the Painter and Landscape Gardener, as to effects, are 
 the same,—“ Belle nature toujours,” as Rousseau enjoins. 
 
 When a villa is placed in a low situation, however surrounded 
 by luxuriant foliage, or enlivened with water, an unpleasant sensation 
 is produced on the mind; the eye turns with disgust from the cold 
 and dreary situation, where no ideas of grandeur, fitness, or comfort, 
 can be associated. In the intermediate situation, taste, elegance, and 
 a just appropriation of the parts, present a subject containing all 
 the essentials of a perfect picture; the gentle declivity in the front. 
 
14 
 
 THE SITUATION AND STYLE 
 
 the wooded screen behind, the inequality of surface,—all conspire to 
 fill the mind with sensations of pleasure and satisfaction. 
 
 However desirable this situation for a villa may be, there are many 
 particulars that claim serious consideration; as the salubrity of the 
 air, the quality of the water, the approaches, and the particular 
 character of the distant scenery;—all these necessarily form parts in 
 the pleasures to be derived from the chosen spot. If the air, the 
 aspect, the approach, and the preferable views respecting the dis¬ 
 tances, be satisfactory, then the water for the house consumption 
 must be examined, since it materially concerns both the health and 
 the comfort of the occupiers. 
 
 The system recently introduced of boring has considerably faci¬ 
 litated the procuring of good water; as in many situations, after 
 forming wells at a great expense, the springs, when found, have fre¬ 
 quently produced water of bad quality; whereas, in the case of 
 boring, all such springs are passed through, and the boring is con¬ 
 tinued until one is discovered both wholesome and sufficient. This 
 process is sometimes continued to the depth of several hundred feet; 
 the expense is inconsiderable, compared with that of sinking a 
 well. 
 
 The aspect of the house is important, as it particularly affects 
 the comforts of the inmates. The North aspect is gloomy; the East 
 may be objected to, as the sun shines upon it early in the morning 
 only ; the West is objectionable, on account of an excess of sunshine ; 
 
OF BUILDING FOR VILLAS. 
 
 15 
 
 the South-west is not good, inasmuch as the rains are the most 
 frequent from that quarter; the South is good, but the South-east 
 aspect is considered the best. 
 
 The Architect will necessarily be consulted on what relates to 
 the internal plan of the habitation,—the arrangements of domestic 
 convenience, and their correct appropriation; but, in reference to the 
 prospects from particular rooms, the skill of the Landscape Gardener 
 will contribute much in aid of a just determination. The sitting- 
 room for the family should command a view of some portion of 
 the pleasure-ground; and in this prospect should be introduced 
 a variety of evergreen shrubs, that the scene may appear lively 
 throughout the year. From the drawing-room, and others of occa¬ 
 sional resort, the elegancies which the grounds possess, or which 
 can be exhibited, should be seen, leading the eye as well to the home 
 as to the distant scenery ; and in these views should be introduced 
 such objects as are adapted to raise emotions of pleasure and 
 admiration. 
 
 In taking occasion to introduce the following hints connected with 
 architecture, it may be proper to state that they are submitted with 
 deference, not to intrude upon the profession of the Architect, but 
 merely as connected with the subject under discussion, and colla¬ 
 terally to the profession of the Landscape Gardener. 
 
 The architecture or style of a country villa may be now con¬ 
 sidered ; and the great object is to combine neatness with elegance. 
 
16 
 
 THE SITUATION AND STYLE 
 
 The Grecian and the Gothic styles of architecture prevail alike in 
 our modern villas. The florid Gothic is not in such high esteem 
 as heretofore ; the great expense of the ornamental carving, on which 
 its character depends, may be considered one of the causes ; there is 
 also a solemnity in the style more suited to the sublime, and to 
 a religious character of scenery. The castle Gothic is an imposing 
 style; its character is strength, and as it carries the mind to cir¬ 
 cumstances of romance and chivalry, it is suited to wild and 
 romantic scenery, and it unites well with the bold and the pic¬ 
 turesque. The beauty of the Grecian style demands a corresponding 
 elegance in its situation. Mr. Price has observed, that “ Whatever 
 comes to us from the Greeks has an irresistible claim to our ad¬ 
 miration and adds, that “ Their architecture has justly obtained 
 the same pre-eminence as their sculpture, poetry, and eloquence.” 
 Too frequently, in our modern buildings, a mixture of the Gothic 
 and Grecian styles may be observed; and it is to be regretted that 
 this incongruity has become more usual than either of the pure 
 styles. 
 
 The origin of architecture is of ancient date: the Grecians 
 divided it into three styles, or orders; — the Doric, Ionic, and 
 Corinthian. The character of the Doric is plain—perhaps the 
 most agreeable to those scenes of nature which are unadorned: 
 the character of the Ionic is more delicate, uniting with chaste and 
 elegant scenery: the character of the Corinthian is the richest 
 
OF BUILDING FOR VILLAS. 
 
 17 
 
 and most ornamental, requiring scenes of luxuriance and refined taste 
 in its associations. To these the Romans added two other orders, 
 the Tuscan and the Composite : the Tuscan is simple in character, 
 and solid, agreeing with the solemn or grand in landscape ; the Com¬ 
 posite, uniting in its capital the ornaments of all the other orders, 
 demands the richest combinations of the most enchanting scenery. 
 These five orders have been handed down to us through ages, and 
 still retain their pre-eminence, however numerous the infringements 
 and deviations that have been attempted. Fanciful architecture pos¬ 
 sesses no particulars worthy of notice : it is degeneracy, consistent with 
 the perishable materials of which it is usually constructed; and it is 
 not to be regretted, that a vain attempt to introduce a succedaneum 
 to the established orders will, perhaps, be unknown to future ages. 
 
 In rural buildings it is proper to avoid introducing the characteris¬ 
 tics of a town residence. Where the extent of the plan is unlimited, 
 the sitting-rooms should range on the ground-floor, and none but 
 sleeping-rooms should be above : the various domestic offices may 
 form wings to the villa, or may be detached, and a communication 
 obtained by a covered passage, as circumstances may render it con¬ 
 venient or necessary. The stables, coach-houses, drying-yard, and all 
 such requisite appendages to a villa, should be at the back of the 
 house, or so disposed as not to obtrude : nothing that can be deemed 
 derogatory to the general character of a gentleman’s residence 
 should be seen from the windows of an elegant villa. 
 
 D 
 
ESSAY II. 
 
 EXTERNAL DECORATIONS. 
 
 In treating upon the fitness of external decorations to villas, it 
 is proposed to consider such as may rather be termed horticultural, 
 than architectural appendages ; as the veranda, the green-house, the 
 conservatory, &c. Ornaments of this description, if appropriately 
 arranged, at all times appear interesting; and, while they contribute 
 to improve the beauty of the scenery, they afford occupation and 
 amusement to the inmates, and are requisite in the grounds of 
 the mansion and the villa. 
 
 A veranda of proper height, judiciously surrounding a dwelling, 
 produces a pleasing effect from without: it yields shelter from the 
 rays of the sun in summer, and protection from rains in winter; it 
 affords also an agreeable covered walk, which may be enlivened by 
 
EXTERNAL DECORATIONS. 
 
 19 
 
 a pleasing variety of evergreens, and should be decorated in con¬ 
 formity with the surrounding scenery. 
 
 Amongst the variety of useful and decorative buildings that may 
 with propriety be attached to a villa, is one constructed to answer 
 the purposes of a green-house in winter, and a pleasant retreat in 
 summer. The building is formed like a conservatory, and paved in 
 fanciful figures of selected pebbles or coloured stones, on which the 
 plants may stand; or they may be placed on stages as in a green¬ 
 house. The front of this building is so constructed, that the 
 lights and frames may be removed in summer, and an open tem¬ 
 porary ornamental front introduced, with Venetian blinds and cur¬ 
 tains; and green-house plants at this season being placed out in 
 the air, the interior may be ornamented with a succession of 
 blooming plants,—those ever pleasing objects of all-inspiring nature. 
 In the winter season, the building may reassume its character 
 of a green-house with little trouble or expense. The damps of 
 a green-house may be prevented from affecting the dwelling, if 
 they communicate, by a partition of glass, or a glazed porch, through 
 which the flues should pass ; which will effectually obviate every 
 unpleasantness that may arise from the conservatory being attached 
 to the house. 
 
 A tasteful disposal of such offices as are indispensable to a residence 
 in the country is of great importance, and yet convenience must not 
 be sacrificed to ornament; therefore, when they can be made to 
 
 d 2 
 
20 
 
 EXTERNAL DECORATIONS. 
 
 possess both requisites, and be disposed so as to arrange in con¬ 
 formity with the architecture of the principal structure, it will be de¬ 
 sirable to build them of suitable size and character, for the purpose of 
 increasing the general magnitude of the appearance. Where the 
 offices cannot with propriety be attached to the residence, they 
 may nevertheless be advantageously shown, since they give beauty 
 and picturesque effect to the scenery, particularly if their character 
 partake of grandeur. A portico or colonnade, in many instances, will 
 add considerably to the beauty of a villa or mansion ; but neither 
 should be adopted unless in perfect accordance with the style of 
 both building and scenery. These decorations are not applicable 
 to the cottage, where simplicity and neatness are the leading cha¬ 
 racteristics. 
 
 Many windows in view from one point have a bad effect, from 
 the monotony, and should be particularly guarded against. If a 
 a number of windows be requisite for internal convenience, a curved 
 form may be given to such as seem most to require alteration, or 
 a bow may be projected, but regulated by symmetry and in agree¬ 
 ment with the style of the building. 
 
 As a concluding remark, it may be repeated, that every species of 
 incongruity should be avoided; and every additional object not in 
 harmony with the character of the building and scenery should be 
 rejected, as offensive to the principles of art, and irreconcileable to 
 the dictates of good taste. 
 
ESSAY III. 
 
 LAYING OUT GROUNDS. 
 
 To form the surface of the grounds which surround the proposed 
 villa, demands all the skill of the Landscape Gardener: it is by 
 the judicious employment of the power to create unequal surfaces, 
 to obscure or obliterate existing deformities, and to render con¬ 
 spicuous those beauties which are hidden or neglected, that forms 
 the basis upon which the elegance and importance of the art is 
 erected. It is of the utmost consequence that the entire design 
 should be seen as with a painter's eye; that the projected outlines 
 of buildings, shrubberies, woods, &c. should be discerned at the 
 commencement, should regulate every exertion during the progress, 
 and promote the intended display of nature and art in the com¬ 
 pletion. 
 
22 
 
 LAYING OUT GROUNDS. 
 
 Natural objects should ever be presented to the sight, though 
 the means by which they are obtained be laborious and artificial. 
 It is by practice and intimacy with the subject, that the Landscape 
 Gardener is enabled to decide where and how improvements may be 
 effected; for there is a material difference between altering and 
 improving, as many theorists have discovered too late. It is not by 
 forming in the mind’s eye a rural scene, either picturesque or beau¬ 
 tiful, and desiring it to be realised, that can produce it; there is no 
 such talisman in the power of the theorist. Many designs there 
 are which cannot be executed, although at the commencement of 
 the work no obstacle be presented: thus expense is incurred, time 
 is lost, disappointment follows unsuccessful effort, and the final 
 impossibility of attaining the object confounds the projector and 
 the agent. 
 
 It is with Landscape Gardening as with painting : from observation, 
 assisted by good taste, such a knowledge of pictures may be acquired, 
 that the possessor shall be considered as having a perfect acquaint¬ 
 ance with the art; but if it be required that the possessor of this 
 judgment should produce a picture of merit, the theory only of the 
 art becomes a stumbling-block: the ideal subject, it is true, exists 
 in the mind, but it cannot be realised by the untutored hand; 
 nevertheless, the wide diffusion of correct feeling on all particu¬ 
 lars connected with the arts is of the greatest value in Landscape 
 Gardening. 
 
LAYING OUT GROUNDS. 
 
 23 
 
 The owner of a property delightfully situated cannot be supposed 
 to be insensible to its beauties; his taste suggests an improvement, 
 and the judgment by which it is regulated is founded on correct 
 principles; but if his sketch of the proposed picture be committed 
 to hands unused to the pallet and the pencil, it must not be thought 
 extraordinary that failure should be the result. The study of the 
 Landscape Gardener, aided by a practical knowledge, enables him 
 to perceive what can be effected towards the accomplishment 
 of the proposed improvements, and a familiar intimacy with the 
 subject teaches him how to avoid certain obstacles, or the best 
 methods for their removal; the beautiful and the picturesque of 
 nature ever occupying his mind and directing his hand— 
 
 “ He best can paint them, who can feel them most.” 
 
 In considering the surface of ground, the breaks, the cavities, and 
 the inequalities should be noticed; and if the spot which is fixed upon 
 for the building should be level, or that near the site of the house 
 the surface should be lower than the surrounding parts, such spot 
 should be raised, not merely to make it appear dry and comfortable, 
 but to render it so in reality. In doing this, if the soil necessary for 
 the purpose be taken from some adjoining land, the effect is more 
 speedily produced, and an undulated surface may be formed in 
 view from the house, which gives the desired variety, and assists, 
 even where the grounds are very limited, in producing the pleasing 
 
24 
 
 LAYING OUT GROUNDS. 
 
 effect called the picturesque. A flat surface, at all times, appears 
 to contract the view, while a waved outline contributes to an 
 appearance of extent. Monotony of surface fatigues the eye, and 
 is insipid, compared with irregularity of contour : if nature has given 
 such surfaces, then it is to be considered, whether the concave, the 
 convex, or the level, be well disposed for the different points of view. 
 It often happens that accidental deformities and natural excres¬ 
 cences may be rendered ornamental, and assist considerably in 
 producing the picturesque or the beautiful. 
 
 Whatever arrangement may be made in the form of the grounds, 
 it is of importance to conceal such objects as define the boun¬ 
 dary, whether on a limited or more extensive scale. In laying 
 out the grounds, much may be done to destroy the highly displeas¬ 
 ing appearance of a fence; and although fences must of necessity 
 be used, it is bad taste to exhibit them as a surrounding border 
 with a walk in the front, which too much defines and invites to 
 an examination of the limits of the property. 
 
 Of roads, the most considerable should be that leading to the 
 mansion: the entrance into the park must be fixed upon before 
 the line is marked out, and advantage should be taken of some 
 well-grown tree or plantation, in a wide part, or at a sweep on the 
 public road, from which to form an easy and convenient entrance. 
 It is not considered good taste to branch one road from another 
 at right angles; and in directing the course of a drive or walk, 
 
LAYING OUT GROUNDS. 
 
 25 
 
 nothing can be more annoying than the prospect of a straight line, 
 over which one is to travel after having previously surveyed it; 
 and it is rendered more objectionable when the object approached 
 is immediately before the eye:—an example of this is in the 
 approach to an extensive mansion in the North of England, where 
 a straight road through the park, two miles in length, leads up 
 to the house, which is ever in view; first in semblance of a cot¬ 
 tage, then as a respectable house, and finally as a magnificent and 
 elegant mansion, which is its true character. 
 
 Where there is no diversity in the line of the road, nor change 
 of object, the mind becomes wearied of the sameness, and the 
 grandeur of the mansion is lost, which should burst upon the view 
 in all its impressive magnificence; but when the road is conducted 
 in a winding direction, the object now hidden, now viewed to ad¬ 
 vantage, the imagination is excited by the variety; and although 
 the route may be more circuitous, this is fully compensated by 
 the beauty and interest of the scenery. It is desirable that distant 
 parts of the road should be seen from the house; the colour, as 
 well as the objects occasionally moving on it, enliven the uniformly 
 green hue of the park. It is equally worthy of consideration, 
 that the road should not command a view of the pleasure-ground, 
 nor approach the front of the house. An occasional view of the 
 house through trees has a good effect; and from some part of the 
 road a burst of view, and as good a prospect of the mansion as possible. 
 
 E 
 
26 
 
 LAYING OUT GROUNDS. 
 
 should be presented, that the first impression may be favourable: 
 this may be deemed taking the visitor by surprise, but it is justi¬ 
 fiable, as a good exterior is considered evidence of an agreeable 
 interior; and if any object on the approach appear crude or in¬ 
 significant, an increased exertion of art will be required to sub¬ 
 due any unfavourable effects which may have been excited. First 
 impressions generally take strong hold of the mind. An artist, who 
 exhibits his works during the mediocrity of his talent, however he 
 may afterward excel, finds an increase of difficulty in establishing 
 a reputation; while he who has reserved his works until he can 
 exhibit talent at once striking and prepossessing, finds his merit 
 more immediately acknowledged. 
 
 A sheltered walk, either for exercise or pleasure, cannot be better 
 obtained, when the building will admit of it, than under a colonnade 
 or veranda. From the house there must always be a main walk, 
 from appropriate points of which, others should branch to the several 
 parts of the garden, park, &c., and should be so disposed as not 
 to command a view into any of the rooms. Gravel walks should 
 be rarely seen from the windows; where the extent of the grounds 
 will admit, they should be dispersed among the plantations, with 
 occasional openings upon different views : the great art in this de¬ 
 pends upon judiciously directing the windings of the walks, and 
 varying the views of artificial and natural objects, so that the spec- 
 
LAYING OUT GROUNDS. 
 
 27 
 
 tator may not be aware he is at times nearly retracing the ground 
 he has previously passed; thus a greater extent will be made to 
 appear than really exists. A straight walk, running parallel to, or 
 at right angles with the house, is objectionable, from its formal and 
 antiquated appearance, and is considered at variance with good 
 taste; it is of the date when square beds of flowers and evergreens 
 were placed with all the precision of geometrical exactness. Where- 
 ever paths are turned, they should lead to the beauties of the 
 scenery: hilly or mountainous walks should have gradual and regular 
 ascents, at times, amidst broken rocks, interspersed with Alpine 
 shrubs ; then winding through the umbrageous plantations to the se¬ 
 questered vale, treading the banks of a gentle stream embellished with 
 appropriate plants; then toward a piece of statuary, on the border 
 of a shady grove, or to the Temple of Peace, to a cascade, or where 
 a river falls and foams along its rocky bed. (See Plates 4, 5, and 6.) 
 In short, such walks, if judiciously directed, lead wherever any 
 object may be seen to excite admiration, or tranquillize the mind 
 to calm reflection : the edge of a precipice, or of a torrent, is to 
 be avoided, unless they be well guarded; and seldom should those 
 views be seen which are calculated to disturb that tranquillity of 
 mind, which is best disposed to receive impressions pleasing and 
 satisfactory. 
 
 “ With various prospect gratify the sight, 
 
 “ And scatter fix’d attention in delight.” 
 
 E 2 
 
28 
 
 LAYING OUT GROUNDS. 
 
 While the direction of roads and paths is under consideration, the 
 best manner of constructing them should be noticed. The system 
 long adhered to, of making a foundation to the depth of nearly three 
 feet, the lower part being filled with coarse materials to act as 
 drainage, renders paths pervious to water; and the consequence 
 is, that after heavy dews, or partial rain, they are in such a state 
 of humidity as not to be walked upon with comfort. In the winter 
 season, the wet weather, which frequently precedes a hard frost, satu¬ 
 rates the walks; the frost penetrates, and when a thaw takes place, 
 they become rotten to the foundation, and are rendered quite im- 1 
 passable. This evil is not only remedied, but much expense for 
 materials and labour saved, by adopting the following rules:—Take 
 from the line of the intended walk eight inches of the earth, then 
 fill it up with coarse good binding gravel, and if there be large stones 
 among it, they should be broken into pieces of about an inch square; 
 the whole should be firmly beaten down, after which the surface may 
 be loosened with a rake; about one inch in depth of fine gravel 
 should then be laid on, and well rolled: if the foundation be im¬ 
 bedded in a layer of chalk, it becomes more adhesive, and by taking 
 care to lay the walk so that the water may be conducted to par¬ 
 ticular parts, and thence carried off by drains, the surface will be 
 rendered firm, clean, and dry, at all times. 
 
 There is an error in making the surface of walks too round; it 
 lessens in appearance the real width, and renders them unpleasant 
 
LAYING OUT GROUNDS. 
 
 29 
 
 to walk upon: and when rounded, it should only be where they 
 are of great width, and then three inches of height in a segment 
 of fifteen feet will be found quite sufficient. Walks of six feet or 
 less in width, would be more pleasant if made with a flat surface, 
 having one side of the walk one inch only lower than the other: this 
 will not be observable, but yet will be sufficient to carry off the 
 water; which, except in heavy rains, will sink into the adjoining 
 ground. Walks thus constructed will be, in every respect, more 
 satisfactory than those made upon the old system. 
 
 One of the most pleasing ornaments to a villa is the flower- 
 garden ; it is calculated to encourage a taste for the beauties of 
 nature, and is one of the most rational, healthful, and agreeable of 
 pursuits. The encomium that Lord Bacon bestows upon a garden 
 is as lofty as it is just: he says, “It is the purest of human pleasures.” 
 The situation of this delightful retreat should not be distant from 
 the house; it should be of easy access, and so situated, that it may 
 be surrounded by a plantation, (see Plate 3,) for the purposes 
 of shelter and retirement: it may sometimes, with good effect, be 
 made to range with a conservatory attached to the residence, but 
 this must depend on the position of the villa, and the form of the 
 adjacent grounds; it is an additional gratification to step from the 
 conservatory into the flower-garden. 
 
 When the ground allotted for the flower-garden is of such extent 
 as to admit of some portion being grass and shrubs, an uneveu sur- 
 
30 
 
 LAYING OUT GROUNDS. 
 
 face may be made to exhibit effects truly delightful; and where it 
 is small, and intended only for flower-beds, a gentle declivity pre¬ 
 sents opportunities to increase the beauties of the variegated blooms 
 of heart-delighting nature. Particular care should be taken against 
 an excess of moisture. 
 
 It would be difficult to lay down general rules for the formation 
 of beds in the flower-garden, as so much depends on the taste of 
 the proprietor; but it is a matter worthy of observation, that those 
 forms which approximate to regularity, as circles, ovals, segments, 
 squares, triangles, octagons, &c. are not so well adapted for pictu¬ 
 resque effect as irregular forms. 
 
 On looking over a number of flower-beds of geometrical shapes, the 
 eye becomes familiar with them at a glance, and is soon tired of their 
 formality; but when the forms are varied, and such as cannot readily 
 be carried in the mind, the additional charm of perpetual novelty 
 is a strong inducement to retrace the enchanting scene through all 
 the varieties of form and beauty. (Plate 3.) 
 
 For the walks of a flower-garden gravel is preferable to grass : 
 although, where the walks are numerous, grass may have the better 
 appearance, yet the difficulty in keeping it neat, and free from 
 moisture, gives to gravel a decided preference. 
 
 The edges for the beds may consist of various species of saxifrage, 
 statice, and other small Alpine plants: a turf verge is preferable to 
 box, as it partakes less of formality. 
 
LAYING OUT GROUNDS. 
 
 31 
 
 A rosary is a delightful appendage to a pleasure-garden, and 
 should ever be introduced where the grounds are extensive, or where 
 a diversity is required. The walks about the pleasure-ground occa¬ 
 sionally breaking in upon such embellished scenes as these, produce 
 very pleasing effects. The rosary is at all times an interesting 
 object; the great variety of the rose tribe permitting a constant suc¬ 
 cession of flowers, renders the scene attractive throughout nearly 
 the whole of the year. The climbing varieties are applicable to 
 forming festoons, running upon wire-work. 
 
 In an extensive pleasure-ground, some portion should be appro¬ 
 priated to American plants: if any part of the ground be damp, it 
 may be allotted to this very beautiful tribe of shrubs ; they grow 
 luxuriantly in moist situations, in peat, or bog-earth. The perfection 
 to which American shrubs attain in this country, the majority of 
 them being evergreens, and the beauty of their flowers, justly en¬ 
 title them to be ranked among the most agreeable and ornamental 
 shrubs, which the perseverance of man has naturalized to our cli¬ 
 mate, and cultivated in our gardens. 
 
 The kitchen-garden is an appendage to a country residence of 
 such utility and importance, that it deserves the utmost attention. 
 In selecting a spot for a kitchen-garden, it should be so situated 
 that it does not interfere with, or obstruct, any of the views from the 
 front of the house; it will, in general, be better situated towards 
 the back of the house, for the convenience of a free communication 
 
32 
 
 LAYING OUT GROUNDS. 
 
 with the domestic offices, as well as for its arrangement with the 
 surrounding scenery. It is inconvenient to place it too distant from 
 the house; it should, if possible, be made to arrange with the shrub¬ 
 beries which are attached to the pleasure-ground: this may be 
 managed with good effect by having a communication from the plea¬ 
 sure-ground, through the orchard, to the kitchen-garden. (Plate 2.) 
 
 A South or South-east aspect is the best, and a gentle declivity 
 is preferable to a flat surface ; an elevated situation would expose 
 it too much to bleak winds, while a valley would subject it to damp¬ 
 ness, and deprive it of a free circulation of air; a shelter by planta¬ 
 tions should always be provided, dependent on the local situation, 
 but the North and North-east winds should be amply guarded 
 against: the forcing-ground especially requires protection from the 
 cold quarters ; but in no instance should any part be overhung with 
 trees, as the stagnant air becomes injurious. In some situations, it 
 may be found necessary that the kitchen-garden should have a 
 plantation round the whole, as a screen : in such cases it should be 
 at such a distance from the garden as to admit of the walls being 
 planted on both sides with fruit-trees; it should afford shelter, but 
 exclude neither sun nor air. 
 
 The quality of the soil for a kitchen-garden must be particularly 
 observed : this, it is true, may be improved by art, but it will be 
 impossible to improve a bad situation. An ample depth of good 
 
LAYING OUT GROUNDS. 
 
 33 
 
 soil is very important; and should it not be sufficient, a considerable 
 expenditure must be incurred to render it so: the depth of good 
 soil should be at least two feet; the most desirable is a black vege¬ 
 table earth, or a rich free-working loam, not tenacious of wet. 
 Should a desirable situation present itself as to aspect and general 
 convenience, and the soil not be found of so tractable a nature as 
 could be wished, or should a garden be already formed on an im¬ 
 proper spot, then it will be requisite that the designer or person 
 conducting the ground-work should be conversant with the nature 
 and treatment of soils generally, their chemical properties, and the 
 best methods of correcting such as are bad. 
 
 In the improvement of land, first ascertain whether it be over¬ 
 charged with wet; if so, draining must be resorted to. The cause of 
 the retention of moisture must be investigated,—whether it proceed 
 from the surface being of so tenacious a nature as to retain the 
 water, or whether its base be of an absorbent quality. Having 
 discovered the cause, the best mode of rectifying the evil is then 
 to be considered. 
 
 For surface moisture, hollow drains of about two feet deep should 
 be formed, their direction being regulated by the position of the 
 land: if there be a great declivity, they should run diagonally; 
 for, if carried in the direction of the land, the course of the 
 water wears away the sides and chokes up the drain, and such 
 
 F 
 
34 
 
 LAYING OUT GROUNDS. 
 
 a direction does not so effectually answer the purpose as a diagonal 
 drain. The number and direction of the main-drains must also be 
 regulated by the situation of the ground, and the flow of water likely 
 to pass through them; one main-drain will frequently be found suf¬ 
 ficient for an acre : the branch-drains must be conducted on their 
 descent into the main-drain, at acute angles, as a preventive from 
 obstructions. The dimensions of the main-drain must be greater 
 than the branch-drains; but much depends on the material to be 
 used. When curved tiles are used in stiff land, the drains are cut 
 with an angle at bottom, having shoulders for the tiles to rest upon: 
 these drains, in many situations, have answered every expectation. 
 Stones are sometimes employed for filling up drains ; brush-wood is 
 also used, as black-thorn, alder, beech, &c. It has been ascertained 
 that any of these placed in a drain while in a green state, have 
 lasted for many years. 
 
 When land is of a stiff* and cold nature to any considerable depth, 
 and retains water on its surface, it is necessary to cut the drains 
 entirely through it to a new stratum, which will frequently be 
 either gravel or sand; and it must be observed, that unless the 
 draining be effectually accomplished, the fruit-trees and crops will 
 not flourish. 
 
 When the moisture of the ground proceeds from springs, it is 
 necessary to ascertain where they originate, by boring, or by cutting 
 
LAYING OUT GROUNDS. 
 
 35 
 
 a drain to the suspected spot. If the springs be numerous, drains 
 should be constructed in proper directions; and if there be an 
 abundant discharge of water, substantial drains must be formed 
 of brick or stone, as an effectual discharge to all obtrusive 
 springs. 
 
 Having cleared the surface of all superabundant water, the applir 
 cation of materials to correct and improve the quality of the soil must 
 be considered. Clays of every description are the worst soils for 
 gardens: some clay is so tenacious and hard, that it is extremely dif¬ 
 ficult to subdue it; other kinds are so poor, they absorb whatever 
 manure is applied, and being retentive of wet, impede and destroy 
 vegetation; the compressed and solid masses they form render the 
 soil impervious to the fibrous roots of plants. Sand is the best cor¬ 
 rective of clay, and sea-sand, if it can be procured, is preferable, 
 as it possesses in some degree calcareous matter and saline pro¬ 
 perties. 
 
 Chalky land is generally dry, and may be improved by the appli¬ 
 cation of marl, or loam and manure. In the use of marl, it is im¬ 
 portant to ascertain what proportions of clay, sand, or calcareous 
 earth it contains, as on that must depend the quantities of the cor¬ 
 rective to be applied. 
 
 Light, open, and poor grounds, may be improved by the intro¬ 
 duction of rich loam and rotten manure, with occasionally a portion 
 
36 
 
 LAYING OUT GROUNDS. 
 
 of peat. Lime may be applied as a simple dressing, or when com¬ 
 pounded. 
 
 Where lands are discovered to possess iron or other metallic sub¬ 
 stances, lime is the best corrective, and an excess of vegetable matter 
 in the earth will be the most readily decomposed by it. In some cases 
 lime has proved to be pernicious to land; but the cause has been 
 that the limestone possessed a portion of magnesian earth, and mag¬ 
 nesia, being less attractive to the carbonic gas of the atmosphere, has 
 in consequence remained in its caustic state, which is highly per¬ 
 nicious to vegetation ; but pure limestone, after being burnt, readily 
 absorbs carbonic gas, which renders it of a fertilizing quality. Car¬ 
 bonate of lime, or chalk, is of the greatest service to wet land, as it 
 possesses in an eminent degree the quality of absorption. Wood- 
 ashes act on the same principle. Soot is a good manure, as it con¬ 
 tains a volatile salt, with a portion of oil: it should be applied as 
 a compound with vegetable mould. 
 
 The soil from a pigeon-house is most powerful in its action: it 
 should be applied as a compound only; it proves excellent when 
 mixed with wood-ashes. 
 
 The manure from the cow-house should not be used alone, nor 
 should it ever be applied to wet and heavy lands, from its being of 
 a cold nature and reluctant to incorporate. 
 
 Sea-weed is proved to be a good manure; but there should not be 
 expected from it more than one crop : it may be applied as a simple 
 
LAYING OUT GROUNDS. 
 
 37 
 
 dressing to light warm land; but in general it would be better if it 
 were incorporated with manure, vegetable earth, and lime. Where it 
 is applied as a simple dressing, it should be immediately carried to 
 the ground, as it soon begins to discharge its juices. Salt may be 
 used in small quantities upon some lands; rather upon such as are 
 dry, than upon those that have a tendency to wet: where it has been 
 used injudiciously, by putting on too great a quantity, the result 
 has been unfavourable. Bones and fish are the most powerful 
 manures that can be used: the oily substance which they contain 
 renders them much slower than any other manure in undergoing 
 a change. Fish should be applied as fresh as possible; but so power¬ 
 ful is its effect, that it should be used sparingly. 
 
 Land is as frequently injured by an injudicious application of 
 manures as by the neglect of them: it is very important that their 
 properties be well understood, that quantities may be regulated 
 according to qualities. All decayed animal and vegetable substances 
 form good manures, but should be incorporated with other substances, 
 according to the strength or nature of each, and should be so applied 
 that their several properties may be called into action: when this is 
 effected, the gratification of seeing healthy and productive crops 
 will certainly follow. 
 
 It is not to be expected that ground-workmen should be ac¬ 
 quainted with all the chemical properties of earths and manures; 
 but they may, with little application and observation, discover the 
 
38 
 
 LAYING OUT GROUNDS. 
 
 several component parts of such as are generally applied, so far as 
 to enable them to know where they ought to be used, and the effect 
 they are calculated to produce. If more attention were paid to 
 this particular, it would be the means of bringing poor and sterile 
 lands into a state of fertility more readily, and at much less expense, 
 than when proceeding upon a system, or rather no system, founded 
 on mere speculation, or where the nature and properties of the 
 materials used are not well understood. 
 
 The right management and treatment of land are equally necessary 
 to Agriculture as to Horticulture, and from their general importance 
 and utility they should be well appreciated. 
 
 The most appropriate site for building the forcing-houses may be 
 next noticed. These are adapted for utility, but may be ranged so 
 as to form an additional ornament to a villa. It is a subject of gra¬ 
 tification to the proprietor to inspect their contents, to observe the 
 fruits through their various stages of growth to ripeness and per¬ 
 fection. The forcing-house should be in a situation of easy access, 
 and should in general have a main walk in front, as visitors, in viewing 
 the beauties of a country villa, take delight in seeing the perfection 
 to which the art of forcing fruits has attained. The aspect for 
 forcing-houses should be South or South-east, and should be situated 
 at one of the boundary-walls; the North will be that for the aspect 
 required ; and the motive for placing them near the extremity of the 
 
LAYING OUT GROUNDS. 
 
 39 
 
 garden, is for the convenience of having sheds at the back for com¬ 
 posts, garden implements, &c. Near this spot it is also convenient 
 to have the melon-ground, for forcing in pits and frames, especially 
 as many of the succession crops are grown here : this department 
 should not be distant from the fruiting-houses. (See Plate 2.) 
 
 It does not come within the province of this work to enter into 
 details upon the construction of Hothouses; and as there are books 
 upon that subject, it may not be necessary to do more here than to 
 notice their situations. 
 
ESSAY IV. 
 
 PLANTING. 
 
 The ancient style of Gardening was not intended as an imitation 
 of nature, but professedly a production of art: the projectors suc¬ 
 ceeded in their design. The modern style is considered to be a 
 representation of nature; and therefore all forms which do not 
 partake of the original are rejected as unworthy to be introduced. 
 
 The plantations are the most prominent features in rendering a 
 country residence an object of ornament and delight, and it is in this 
 department, combined with a skilful appropriation of the ground, 
 that an extensive practical knowledge is required to produce all 
 the desired effects; for not only the judicious arrangement of the 
 plantations, but of the various trees of which they are composed, 
 demands the exercise of true taste, that the component parts 
 
PLANTING. 
 
 41 
 
 may be suitably disposed, as well in contrasts of form as of colour, 
 so that they may appear to advantage, when viewed individually or 
 collectively. This important department of the art is frequently 
 undertaken by persons who may well understand the removal of a 
 tree, but can be effected only by those who, from study and observa¬ 
 tion, are acquainted with the growth and form, the character and 
 colour, the opposition and harmony, of the various trees and shrubs 
 which nature has so abundantly provided for the delight of man. 
 
 A good and sufficient back-ground to a building is of great im¬ 
 portance, and should in all cases be obtained, if practicable; as no 
 house can have an impressive and interesting appearance without 
 it. A plantation thus situated, not only affords protection to the 
 house and grounds, but assists considerably in relieving and sup¬ 
 porting the effect of the scene. 
 
 It must be evident, that a promiscuous group of foliage is not 
 the most suitable decoration for any particular spot, because a plan¬ 
 tation would there be well placed: the infinite variety of outline 
 that may be produced, implies various degrees of perfection ; for 
 instance, if trees approximating in character and in tint of foliage 
 be adopted, what is denominated a clump will be the inevitable 
 result; and such a leading outline it will be vain to attempt cor¬ 
 recting by contrasts in the shrubbery, or by laying the axe par¬ 
 tially to the roots of the tasteless mass. In forming plantations near 
 a house, the best skill may be displayed by rendering such as are 
 
 G 
 
42 
 
 PLANTING. 
 
 necessary, objects of ornament; or, when it is requisite to obscure 
 a portion of the boundary, or any offensive object, trees with a pic¬ 
 turesque irregularity of outline are best to be adopted, since the real 
 intention will be concealed. 
 
 It is bad taste to plant in a form similar to the object intended to be 
 hidden. It is also desirable to vary the forms of plantations, as they 
 recede or advance; by this the most pleasing effects may be pro¬ 
 duced. The principles of perspective will here be as applicable as in 
 drawing, by which single trees and groups may be so disposed as 
 to assist in giving an appearance of extent: here also the colours 
 of the foliage are to be particularly attended to, and arranged so 
 as to harmonize and to aid the assumed increase of extent; the 
 effect which may be thus produced is admirable, and may be con¬ 
 sidered one of the triumphs of the art of Landscape Gardening. 
 
 The practice of inclosing grounds with thick masses of plantations 
 should be avoided; because, in a decided manner, they define that 
 which should be imaginary; and parts are made to project which 
 ought to recede. Where thick plantations and broad masses of 
 shade exist in the distance, they mar the effect of beautiful land¬ 
 scape, encroach upon the limits of the ground, and evidently betray 
 how far the hand of art has been directed. No true admirer of land¬ 
 scape scenery w ill admit, that surrounding the grounds with a belt, 
 or thick plantation, which every where marks the termination of 
 property, can be reconcileable with good taste. It is nevertheless 
 
PLANTING. 
 
 43 
 
 admitted, that in some situations such plantations are essential 
 to particular effects, and that parts may be made to produce the 
 pleasing effects of a vista, and increase the variety of outline. 
 Many errors have been committed by persons conceiving the true 
 art of Landscape Gardening to consist in curved walks and similarly- 
 formed plantations, which, at a short distance, blend into such regular 
 and formal shapes as to appear as if they were clipped; but let 
 it not be conceived for a moment that such forms can have any claim 
 to the picturesque. The Painter and the Landscape Gardener, in 
 their productions, have the same motive—to gratify the eye of taste ; 
 the forms produced by clumps and belts should therefore be re¬ 
 jected, as they afford little or no variety in their outline, and produce 
 a formal and confined effect, at variance from nature. Shenstone 
 fully supports the position, where he says, “ I think the Landscape 
 Painter is the Gardener’s best designer.” Plate 6 exhibits the mode 
 of planting or clearing out, so as to produce the sinuosities and 
 irregularities of nature. 
 
 In forming plantations near the house, either to hide the offices 
 or for ornamental groups, there should always be dispersed among 
 them a great portion of evergreen shrubs, to preserve a lively and 
 interesting appearance as well in winter as in summer. 
 
 There are numerous evergreen and deciduous flowering shrubs, 
 as well as ornamental herbaceous plants, that appear to great ad¬ 
 vantage when planted in small clusters; in the disposal of which, it 
 
 g 2 
 
44 
 
 PLANTING. 
 
 is necessary to be acquainted with their respective properties, their 
 height of growth, and the colour of their leaves and flowers, in 
 order to produce a pleasing contrast: such plants may be selected 
 for particular situations as will bloom in succession, or at any required 
 period; which is frequently desirable, when the villa is only occa¬ 
 sionally visited by the proprietor. 
 
 Although green turf is very pleasing and ornamental upon a lawn, 
 still a large surface requires trees, decorative flowering shrubs, and 
 plants, to relieve the monotony of its appearance, and render the 
 scene more pleasing and interesting : care must be taken to leave 
 uncovered a sufficient portion of lawn or turf, as shall admit a free 
 circulation of air, and breadth of light to display the form and effect 
 of the surrounding plantations. Alleys, leading to shady walks, 
 should be formed between the trees and shrubs. Vistas, which guide 
 the eye to artificial objects or to distant beauties, should be particu¬ 
 larly attended to. There are numerous ornamental trees and shrubs, 
 which planted singly enhance the beauty of the pleasure-ground, 
 when tastefully disposed. The following are a few which are well 
 adapted to this purpose :— 
 
 TREES. 
 
 Cupressus disticha, 
 
 -Chinensis, 
 
 Magnolia acuminata, 
 
 Salisburia adiantifolia. 
 Gleditschia horrida, 
 Arbutus unedo, 
 
 -tripetala, 
 
 Quercus Ilex, 
 
 - andrachne, 
 
 Standard tree roses, 
 
PLANTING. 
 
 45 
 
 Standard Cytisus purpureus, 
 
 -supinus, 
 
 -argentius, 
 
 Koelreuteria paniculata, 
 Liriodendron tulipefera, 
 Sophora Japonica, 
 
 Bignonia Catalpa, 
 
 Ailanthus glandulosa, 
 Quercus coccifera, 
 
 Zizyphus paliurus, 
 Laurus sassafras, 
 Pinus Cedrus, 
 
 - pinea, 
 
 - strobus, 
 
 Juniperus Suecica, 
 Halesia tetraptera, 
 Ulmus crispa. 
 
 SHRUBS. 
 
 Magnolia glauca, 
 
 -cordata, 
 
 Amorpha fruticosa, 
 
 Paeonia arborea, 
 
 -humea, 
 
 -papaveracea, 
 
 Kalmia latifolia, 
 
 Rhododendron Catawbiense, 
 
 The flower-garden will contain 
 
 Yucca filimentosa, 
 
 -gloriosa, 
 
 Ligu strum lucidum, 
 
 Juniperus Sabina, 
 
 Chionanthus Virginicus, 
 
 Stewartia malacodendron, 
 
 Virgila lutea. 
 
 many choice and tender species 
 
 of flowers which must be sheltered by plantations on the North 
 and North-east sides, from which points the most destructive winds 
 proceed. No part of the flower-garden should be exposed,—not even 
 to the pleasure-grounds ; it offers in itself sufficient to contemplate 
 
 and to admire, and its character is best preserved and associated with 
 retirement. The plantations, for this purpose, should be composed 
 of neat and ornamental shrubs, a great proportion of which should be 
 
 evergreens. 
 
46 
 
 PLANTING. 
 
 Upon the arrangement of plants in the flower-garden a diversity of 
 taste exists. The connoisseur Florist, who studies only varieties of 
 particular species of pink, carnation, polyanthus, auricula, &c., prefers 
 having whole beds of each of these flowers ; he is anxious for the 
 number of varieties, and most ardently solicitous for those which 
 are rare. The Botanist, in his scientific pursuits, looks not for an 
 unprecedented variety of colours, nor particular construction of forms, 
 but arranges them in classes; and prizes a new species, although 
 possessing no beauty, to the gayest flower in the garden : while the 
 General Observer prefers a judicious arrangement of beautiful flowers ; 
 his pleasure is in admiring the harmony, the variety, and the splen¬ 
 dour of the blooms. 
 
 The disposal of plants in the beds of a flower-garden must, there¬ 
 fore, depend on the taste of the proprietor. Where there is no 
 particular inclination to study plants scientifically, but a flower-gar¬ 
 den is required for recreation and amusement, the object must be 
 to produce a pleasing variety throughout the season. Beds may be 
 allotted to a general mixture of flowers, or to any particular species 
 of choice or rare plants. Where there is an extensive collection 
 of plants, flowers in pots may be reserved for adorning some beds, 
 by a process denominated plunging , to secure a continual succession 
 of variety and bloom. This arrangement, if judiciously conducted, is 
 best calculated to give general satisfaction, as it may afford attractions 
 for the Botanist, the Florist, and the General Observer. The plants 
 for beds should consist of the handsomest flowering shrubs, the most 
 
PLANTING. 
 
 47 
 
 ornamental herbaceous plants and bulbous roots, of which there are 
 a great variety applicable to this purpose; some of the flowering 
 annuals will also add to the splendour of the scene. 
 
 The beauty of the flower-garden, in the summer season, may be 
 heightened by planting in beds some of the most freely flowering 
 young and healthy green-house plants. Where there is an extent 
 of green-house, a sufficient quantity of plants should be grown 
 annually for this purpose, and should be sunk in the beds about 
 the middle or end of May. The following are among the beautiful 
 of this species :— 
 
 Anagallis grandiflora, 
 
 -monelli, 
 
 Heliotropium grandiflorum, 
 Fuschia coccinea, 
 
 Lobelia erinus, 
 
 -unidentata, 
 
 Hememeris urticifolia, 
 Alstromeria peregrina, 
 Bouvardia triphylla, 
 Geraniums of sorts, 
 Lychnis coronata, 
 Lynum trigynum. 
 
 Planting, with a reference to park scenery, must depend in a great 
 measure on the nature and contour of the surface. Where there is 
 a variety of convex and concave, of hill and dale, fine effects may 
 be produced, by judiciously planting the hills and leaving open 
 the valleys for more pleasing contrasts; but this must be regulated 
 by a judicious and refined taste : no formal group, perched upon the 
 top of a hill, nor masses that might give the appearance of a wilder¬ 
 ness, should be seen ; a flowing line, united with a lightness of effect, 
 should be preserved throughout. 
 
48 
 
 PLANTING. 
 
 Planting for park scenery within view from the pleasure-ground, 
 should have ornament for its principal motive; the formal and in¬ 
 congruous avenue, the massive clump, having no kindred association 
 with the beauties of nature, are, therefore, altogether to be rejected; 
 but where a revered relic of ancient times exists in a stately avenue, 
 such should be respected, and not be destroyed. To alter the ap¬ 
 pearance of an avenue will require years of growth ; and the cutting 
 away part, to alter the effect, has rarely been attended with the de¬ 
 sired success ; it has lost its wonted grandeur, remained a mutilated 
 avenue, and the chasms have been viewed with sad regret. The 
 disposal of trees in a park, either singly or in groups, should be 
 regulated by the views from the principal apartments of the house, 
 so as to avoid obstructing any desirable scenery. A few trees may, 
 consistently with beauty, be dispersed singly; but where they are 
 grouped, they should present no regular form, nor be crowded into 
 masses: however they be planted, they should partake of what is 
 considered rural beauty and artless simplicity, which constitute the 
 most lovely scenes of nature. In parks or shrubberies, it is desirable 
 to plant only such trees and shrubs as are intended to remain, and 
 never with a view to thin them out afterwards; each plant should be 
 so placed, as to show its form and to agree with the general effect. 
 
 The method of planting adopted by the late Mr. Repton has been 
 followed with great success. Trees of considerable growth, even of 
 the height of from twenty to thirty feet, may be removed with safety 
 
PLANTING. 
 
 49 
 
 for the purpose of exhibiting the desired effect, or for obscuring at 
 once some disagreeable object. 
 
 Where a large plantation is required as a screen or shelter, it may 
 then be advisable to plant thicker than would be otherwise required. 
 Neither the bill-hook nor the shears should be permitted among 
 ornamental trees and shrubs; all superfluous branches should be 
 removed while of the size that a pruning-knife is sufficient to 
 separate them from the tree. 
 
 Mr. Price has, in an ingenious manner, reprobated the practice of 
 mixing indiscriminately a great variety of foliage, without having in 
 view its effect; he says, “Variety, of which the true end is to re¬ 
 lieve the eye, not to perplex it, does not consist in the diversity of 
 separate objects, but in the diversity of their effects when com¬ 
 bined in a difference of composition and character. Many think, 
 however, they have obtained that great object when they have 
 exhibited in one body all the hard names of the Linnaean system; 
 but when as many plants as can be well got together, are exhi¬ 
 bited in every shrubbery, or in every plantation, the result is a 
 sameness of a different kind, but not less truly a sameness, than 
 would arise from there being no diversity at all; for there is no 
 having variety of character without a certain distinctness—without 
 certain marked features on which the eye can dwell.” On the 
 modern style of forming landscape scenery. Pope has given prin¬ 
 ciples that may ever be acted upon : “ To study natural beau- 
 
 H 
 
50 
 
 PLANTING. 
 
 ties; to conceal defects; and never to sacrifice common sense to 
 pageantry.” 
 
 The forming of woods, or the alteration of their appearance 
 in the distance, in some situations, is of considerable importance in 
 producing a picturesque effect. In this department, when a wood 
 is to be formed, it is judicious to select such trees as will become 
 profitable to the proprietor, as well as improve the scenery of the 
 villa; either are powerful inducements to planting of waste lands : 
 such plantations should be composed of trees according to the nature 
 of the soil. Larch and spruce fir will be found to thrive in almost 
 any soil, and are of very quick growth ; where oak can be intermixed, 
 both effect and value will be augmented. Dr. Hunter observes in his 
 Evelyn’s “ Sylva,” that “ The oak, the pride and glory of the forest, 
 demands our first attention.” Of the genus Quercus there are about 
 thirty different species, many of which have numerous varieties; such 
 only as relate to ornamental scenery are here noticed. The following 
 are best adapted for parks:— 
 
 Quercus robur, common oak, 
 
 _ ilex, evergreen oak, 
 
 _ suber, cork-barked oak, 
 
 _ alba, white-oak, 
 
 The Quercus robur , or common oak, is well known to attain to a 
 great size; but it is slow in growth : in woods it rises to a very con¬ 
 siderable height; but singly it is rather a spreading tree, sending 
 
 Quercus cerrts, Turkey oak, 
 
 - vars. Luicomb and 
 
 Fulham oaks. 
 
PLANTING. 
 
 51 
 
 immense branches horizontally, which divide and subdivide exceed 
 ingly. Mason has given a very beautiful description of such a 
 tree:— 
 
 “ Behold yon oak, 
 
 How stern he frowns ! and his broad brown arm 
 Chills the pale plain beneath.” 
 
 The oak is confessedly the most accommodating of all the pro¬ 
 ductions of the forest; it combines happily with rustic scenery, adds 
 grandeur to the ruined tower or Gothic arch, and seems appropriately 
 to harmonize with the lowly pastoral or the lofty sublime. 
 
 Quercus ilex, or the evergreen oak, is a very fine species; it retains 
 its leaves throughout the winter. In the South of Europe it attains 
 to a great size : many fine specimens of it exist in this country, and 
 it has of late years been much cultivated in parks; being both 
 hardy and ornamental. 
 
 Quercus suber, or the cork-tree, is also an evergreen ; the use of 
 its bark is well known in this country : its appearance is more slender 
 than the common oak, and its form more spiral. 
 
 Quercus alba, or the white oak, is a very fine growing tree, and 
 is likely to be much cultivated in this country; principally on account 
 of its timber, which is in great repute. 
 
 Quercus cerris, or the Turkey oak, is an evergreen, grows quick, 
 and is very ornamental. A very fine variety, called the Luicomb 
 oak, has been raised from the seed by Mr. Luicomb, from whom it 
 
52 
 
 PLANTING. 
 
 derives its name: it does not seed so freely as most other oaks, but 
 may be increased by grafting, and becomes excellent timber. There 
 is another variety, supposed to have been raised from the seed of the 
 quercus cerris, which is perhaps more worthy of notice, as it possesses 
 all the qualities of the former, and is propagated more easily, as it 
 seeds in abundance: the oldest, and perhaps the original plant of 
 this variety, is in the nursery of Messrs. Whitley and Co. at Fulham, 
 whence it takes the name of the Fulham oak: its form and appear¬ 
 ance are more massy and graceful than the Luicomb; it spreads with 
 all the majesty of the common oak, is more compact, and, from its 
 general grandeur, is unquestionably a very desirable and ornamental 
 tree. 
 
 Of the species of elms suited to the purposes of Landscape Gar¬ 
 dening, are— 
 
 Vlmus campestris, the common elm, 
 
 - montana, the broad-leaved elm, or Wych hasel. 
 
 Ulmus campestris, or the common elm, is a native of various coun¬ 
 tries of Europe; it grows as an indigenous plant in many parts of 
 England. Mr. Gilpin, in his “ Forest Scenery,” has well described its 
 beauties: he says, “ The elm naturally grows upright, and, when it 
 meets with a soil it loves, rises higher than the generality of trees; 
 and after it has assumed the dignity and hoary roughness of age, 
 though properly speaking it is not a forester, few of its forest 
 
PLANTING. 
 
 53 
 
 brethren excel it in grandeur and beauty. The character of the elm, 
 in its skeleton, partakes much of the oak,—so much, that when it 
 is rough and old, it may at a distance be taken for an oak. In full 
 foliage, its character is more clearly marked; and no tree is better 
 adapted to receive grand masses of light: its leaves are small, which 
 gives it a natural lightness, and it is in general very picturesque/’ 
 The timber of this tree is in some instances serviceable, but is 
 not valuable. 
 
 Ulmus montana, or the Wych hasel, is found in shady lanes and 
 the outskirts of woods, in most parts of England, and seems clearly to 
 be indigenous: its habit of growth is more loose and straggling than 
 the common elm, which gives it a light, broken, and pleasing outline, 
 and consequently better suited to the picturesque. 
 
 Fagus sylvatica , or the common beech, as an ornamental tree, de¬ 
 serves a place in the foreground; it possesses a stately trunk, a glossy 
 foliage, and gracefully-spreading pendulous boughs, and has a fine and 
 noble effect when standing singly in a park or in ornamental grounds : 
 it throws out its branches gracefully, and feathers almost to the 
 ground. In woods and groves it grows clear of branches to a great 
 height. It is indigenous to several countries of Europe. The wood 
 of the beech is not very valuable, although useful for a variety 
 of purposes. 
 
 Castanea sativa, or the common chestnut, grows to a great size, 
 with a noble and picturesque bole, and spreads its branches finely 
 
54 
 
 PLANTING. 
 
 on every side where it has room; if planted close, it will shoot up 
 straight to a considerable height, and is very grand. Its loose and 
 straggling effect is pleasing and picturesque. 
 
 Fraxinus excelsior , or the common ash, is objectionable on arable 
 lands, as it extends its branches and roots widely, with very destruc¬ 
 tive properties; its roots impoverish and exhaust the soil, and the 
 drip from its branches is pernicious to vegetation: it is also objec¬ 
 tionable as an ornamental tree; although of handsome growth, its 
 leaves are always the latest in appearing, and they fall among the 
 earliest in the autumn. It may be introduced into plantations of 
 extensive parks and woods: it adapts itself to any soil, and its tim¬ 
 ber is always in demand. 
 
 Msculus hippocastanum, or the common horse-chestnut, is distin¬ 
 guished for its grandeur and ornamental foliage, and, when in flower, 
 no tree possesses so much beauty; the extremities of its branches 
 being terminated by fine spikes of flowers, so numerous that the tree 
 is covered with the most elegant bloom : the large digitate leaves have 
 a noble appearance, and the round full form of the head makes it 
 a desirable tree in plantations, especially as its growth is rapid; and 
 it is a tree well adapted to be placed alone, although it is somewhat 
 formal. The timber is of little value. 
 
 Juglans regia, or the common walnut, is a handsome as well as 
 a profitable tree, and may well be introduced for ornament: it 
 is a large and lofty tree, with strong spreading boughs, and of 
 
PLANTING. 
 
 55 
 
 majestic appearance. It grows very fast, and its timber is valu¬ 
 able. 
 
 Acer campestris, or the common maple, never attains to a very 
 large size, but is well worthy a place in ornamental plantations: its 
 foliage is pleasing, and forms, among other trees, a good variety. 
 
 Acer pseudo-plant anus, or the great maple or sycamore, is large 
 and of quick growth, and was formerly much planted; but has been 
 superseded by more ornamental trees. It may be used for shelter, 
 and mixes well in large plantations. 
 
 Tilia Europea, or the European lime, is a handsome tree, having a 
 taper straight trunk, with its branches forming a beautiful cone; the 
 foliage also is smooth and elegant. It makes a fine detached object 
 in parks and open lawns. 
 
 The poplar is a tree seldom admitted into rural scenery: its 
 stiff upright form prevents its adaptation to purposes of ornament; 
 although it may sometimes be introduced among other trees for 
 variety, and in that manner it is at times seen in landscapes to good 
 effect. Mr. Gilpin has thought some of the poplars picturesque. 
 The following are sometimes grown, though they are not recom¬ 
 mended as ornamental:— 
 
 Populus alba, the white poplar, or Abele tree, 
 
 - nigra, the black poplar, 
 
 - balsamifera , the common Tacamahaca poplar. 
 
 - dilata, the Lombardy or Po poplar, 
 
56 
 
 PLANTING. 
 
 Betula alba, or the common birch-tree, is worthy of a place in 
 ornamental plantations. Mr. Gilpin says of it, that “ The stem 
 being straight, the bark smooth and white, and the foliage neat, the 
 birch has a picturesque appearance, when properly placed, in orna¬ 
 mental plantations; either in the openings here and there, to show 
 the foliage and hanging down of the twigs, or within, to display its 
 silvery bark through the gloom.” 
 
 Of the numerous tribe of willows there are none, with the ex¬ 
 ception of Salix Babylonica , or the weeping-willow, that can come 
 under consideration. This species may be introduced with good 
 effect along the banks of a winding river; its long slender pendulous 
 branches give it a peculiar character, and render it in such situations 
 a beautiful object; it is also handsome as a single tree, in many 
 situations. 
 
 Pinus, or fir-tree, of which there are about thirty species, are all 
 worthy of cultivation. A fine collection of this genus is to be seen 
 at Dropmore, the seat of Lord Granville, where there is a portion 
 of ground allotted for the purpose, called the Pinery: in this spot 
 are collected most of the species known in this country. 
 
 It would not be doing justice to many of the fine genera of 
 plants already noticed, to enter fully into a detail of all the species of 
 the pine: it is therefore proposed to notice such only as are best 
 known and cultivated, either for ornament or utility. 
 
PLANTING. 
 
 57 
 
 Pinus cedrus, cedar of Lebanon, 
 
 - pinea, stone pine, 
 
 - strobus, Weymouth pine, 
 
 - larix, common white larch, 
 
 Pinus picea, silver fir, 
 
 - balsamea, balm of Gilead fir, 
 
 - Canadensis, hemlock spruce, 
 
 - abies, Norway spruce. 
 
 The Cedar of Lebanon is not only of the most antient renown, but 
 may justly be termed the noblest of the tribe; the majesty of its form 
 adds dignity to the scene, wherever it is introduced. No tree is 
 better adapted to the climate of this country; the inclemency of the 
 coldest winter does not affect it. 
 
 With respect to the other species of firs above-mentioned, it would 
 be needless to consider them separately; their form and habit of 
 growth being similar, it may be sufficient to observe that they are 
 all worthy of being classed among the ornamental trees. They 
 should not be planted singly, but intermixed with other trees. 
 
 Of the Plane, Platinus, there are two species :— 
 
 Platinus Orientalis, the Oriental plane, 
 
 - Occidentalis, the American plane. 
 
 Both are cultivated in this country : they are highly decorative; the 
 skeleton is peculiarly elegant, and the tree well worthy of notice. 
 Mr. Marshall says of the plane, that “ it is particularly refreshing to 
 the eye, and truly ornamental, the bright colour giving variety to 
 groves and masses of wood; in single trees or in groups they are 
 equally elegant.” The lower branches shoot horizontally, and afford 
 in summer a delightful shade. 
 
 i 
 
58 
 
 PLANTING. 
 
 Taxus baccata, or the common yew, has but an indifferent claim to 
 notice; its very dark foliage produces a sombre appearance, which is 
 increased by its thick growth. It possesses little either of grace 
 or elegance ; its dark-coloured massive growth answers very well for 
 filling up a plantation, as a screen, or for a thick evergreen fence. 
 
 This brief sketch of the leading characters of trees, evergreen and 
 deciduous shrubs, suited to the purposes of decoration in the grounds 
 of a villa, is perhaps all that may be considered necessary; there only 
 remains a hope that it may be useful, and promote a taste for orna¬ 
 menting grounds, with an adherence to Nature, the great instructor 
 in the principles of Landscape Gardening. 
 
 “ To build, to plant, whatever you intend, 
 
 To rear the column, or the arch to bend, 
 
 To swell the terrace, or to sink the grot; 
 
 In all, let Nature never be forgot: 
 
 But treat the goddess like a modest fair, 
 
 Nor over-dress, nor leave her wholly hare ; 
 Let not each beauty ev’ry where be spied, 
 Where half the skill is decently to hide. 
 
 He gains all points who pleasingly confounds. 
 Surprises, varies, and conceals the bounds.” 
 
 Pope. 
 
ESSAY V. 
 
 WATER. 
 
 Water well situated eminently contributes to improve and embel¬ 
 lish the scenery of a domain. If it be a lake in mid-distance, it can 
 be exhibited to great advantage by a variety of methods, and assisted 
 in its form and dimensions by judicious planting upon the grounds of 
 the villa. If it be a river, nature has generally given to it forms 
 that are deeply interesting; still the associating objects may give 
 to those beauties an additional charm. The peculiar effect of certain 
 varieties of foliage breaking tenderly upon the edge, or projecting 
 boldly on the mass, are effects with which every eye is familiar. The 
 prospect of a sheet of water, seen through a vista, ever claims atten¬ 
 tion ; but if with these there be an undulating surface of ground, 
 
 i 2 
 
60 
 
 WATER. 
 
 or a temple placed on a gently rising knoll, sustained by appro¬ 
 priate foliage, the scene is rendered particularly beautiful. 
 
 If water be, happily, within the grounds of a villa, it may be ren¬ 
 dered ornamental in an eminent degree; and among the effects to be 
 produced may be mentioned the cascade, the fountain, the pool, the 
 murmuring brook, and the winding stream: these must be regulated 
 by the quantity of water, and the nature of the ground through 
 which it runs. 
 
 While speaking of the beauty which water may produce on a 
 domain, it must be admitted that a superabundance is frequently 
 detrimental; also where grounds are low, and liable to occasional 
 inundation, or interspersed with fens or bogs : in such places, the im¬ 
 prover’s skill is more particularly required; for he must, by removing 
 the objectionable quantity, render the grounds productive and pic¬ 
 turesque. The superfluous water may be drawn together into the 
 form of a lake; or, if draining be practicable, a gently running 
 stream may be effected. It frequently occurs, where the drainings 
 of neighbouring lands lead to one reservoir, there is a great deposit 
 of clay and mud, and the spot becomes overgrown with weeds, even¬ 
 tually producing stagnation, rendering the scene disagreeable, and 
 the neighbourhood unhealthy: these impurities of animal and vege¬ 
 table matter will be entirely removed, and this inconvenience in every 
 respect obviated, where a running stream can be effected. 
 
WATER. 
 
 61 
 
 Where the health and comfort of individuals are concerned, 
 expense should not be a consideration in obtaining the object de¬ 
 sired; machinery, or an action produced by the wind as on a mill, 
 might be resorted to for raising the water, and its final discharge 
 would depend on situation with respect to neighbouring channels 
 communicating with a river. 
 
 The delightful appearance of water depends particularly on the for¬ 
 mation of the banks. A serpentine direction is most pleasing: the 
 line of the shore may be broken by bold projections, or by islands, 
 formed as circumstances may require ; but in these ornaments much 
 of their effect will depend on form and position, and they should 
 never appear centrically situated. The trees and shrubs on the 
 banks should be arranged so as to have a light and airy appearance ; 
 any heavy form placed upon water will not accord with the general 
 effect such a scene is calculated to produce. Where a piece of 
 water is upon a small scale, and a fall can be constructed, nothing 
 adds more to the beauty of the scenery. Accidental lights and 
 shades are conducive to the pleasure derived from the view of tran¬ 
 quil water, independent of its beauteous reflections: as upon an 
 extended lake, where the distance is light and open with occa¬ 
 sional breaks, and the intermediate parts deep-toned, increasing in 
 depth of shade as they advance, the prospect is rich and de¬ 
 lightful. 
 
62 
 
 WATER. 
 
 The extent of the reflecting surface should be in proportion to 
 the extent of the grounds: if there be too great a surface of water, 
 and the distance be flat, a part of the distant bank may be raised 
 and planted, which will have the effect of bringing the objects nearer; 
 and in that proportion lessen the expanse of the water. If a piece 
 of water be shut in by banks, and abridged in its requisite appear¬ 
 ance ; by levelling the distance, it will seem extended, and the termi¬ 
 nation will become less evident. The introduction of the view of 
 a promontory on some part of the shore will break too great an 
 expanse of water; and the appearance of the water again beyond, 
 will convey an idea of a river in continuation: thus an infinite and 
 pleasing variety may be produced, by breaking the dull monotony of 
 a straight line on the edge of water. 
 
 In directing the course of a river, its turnings should be made 
 easy and natural—neither too numerous nor sudden ; it should wind 
 through a vale, and, if any part be uninteresting, an island or some 
 other object calculated to break the uniformity, and give variety to 
 the scene, should be introduced. Where the course of a river 
 is through a park, it may with advantage be conducted amidst a 
 portion of the wooded scenery; since it is desirable to have the 
 water sometimes concealed, and then again appear where it will 
 be viewed w f ith renewed pleasure. The banks are next to be con¬ 
 sidered ; which may be varied; occasionally having some parts level, 
 
WATER. 
 
 63 
 
 so as to throw open to the view an expanse of water, while other 
 parts may be raised for the purpose of its concealment. 
 
 A piece of running water, wholly exposed, affords little interest; 
 but viewed with accompanying embellishments, it produces one of 
 the grandest ornaments which the hand of a master can possibly 
 effect on the most extensive domain. Who ever beheld the grand 
 and powerful effect of water at Blenheim, without emotions of sur¬ 
 prise and admiration ? 
 
 A rivulet is always an object imparting pleasure in a sequestered 
 situation, but it does not bear sufficient importance to become 
 a conspicuous object in rural scenes; and yet the purling stream 
 which encircled the grounds of Shenstone’s villa at the Leasowes 
 was ever an object of delight and importance: in various parts it 
 produced effects both pleasing and interesting ; at times seen, and not 
 heard—again the pleasing murmurs were heard, when the cause was 
 not seen. Thus, a rill murmuring through a wood seems to implore 
 the observer to contemplate its solitary course, while its glittering 
 ripple enlivens and decorates the scene. 
 
 Perhaps the most striking effect water is capable of producing is 
 in a cascade, or a natural water-fall. (Plate 5.) The mind receives 
 pleasing impressions of wonder and delight, while witnessing the 
 liquid element descending from on high in various sheets, which 
 sparkle with a diamond lustre as they fall—the cloudy spray reflect- 
 
WATER 
 
 64 
 
 ing the soft and blended colours of the rainbow; then dashing with 
 furious irregularity over bold projections and stupendous rocks. 
 Such a scene as this must be presented principally by nature; but 
 much may be done artifically to add to its grandeur: where such 
 an object exists, the character of the sublime and picturesque in 
 the surrounding scene must be maintained. Here masses of luxu¬ 
 riant trees surround the eminence: some projecting over the pre¬ 
 cipice, some bending midway as if by magic power upheld; others 
 dip their pendent foliage in the foam below; and the stately oak, 
 in wild magnificence, curves its bold roots amid the rocks, and 
 stretching its huge arms completes this scene of grandeur and sub¬ 
 limity, 
 
 “ While from aloft the bursting torrents flow, 
 
 As deep recoiling surges foam below ; 
 
 Prone o’er the rocks the whitening sheet descends, 
 
 And viewless Echo’s ear astonish’d rends.” 
 
ESSAY VI. 
 
 RURAL ORNAMENTS. 
 
 In planning rural ornaments, their situation is to be considered, 
 as well as their formation, their convenience, and appearance. 
 
 Here will occur the necessity of employing persons conversant 
 with the practice of arranging and disposing such ornaments with 
 regard to picturesque scenery. It has happened, after these or¬ 
 naments have been completed at a great expense, on taking dif¬ 
 ferent views of them, and from them, that it has been discovered 
 the effect might have been considerably improved, had they been 
 erected upon some other parts of the grounds, or perhaps only a 
 few yards from the spots adopted; and that the character and style 
 were not in unison with the surrounding scenery. 
 
 K 
 
66 
 
 RURAL ORNAMENTS. 
 
 To guard against this, and, in the first instance, to obtain some 
 idea of the effect and form of an intended building, it will be ad¬ 
 visable to erect poles, or some rough structure, to be covered with 
 matting, or other material, upon the site, in the form and size of the 
 proposed structure; by observing which from various points or 
 stations, it may be ascertained whether the form, the height, and the 
 magnitude, accord with the surrounding scenery and if it be well situ¬ 
 ated with regard to its effect from more distant parts of the grounds; 
 for at times these ornaments have a good effect upon a close in¬ 
 spection, but appear inharmonious when viewed from a distance: 
 such a situation should be chosen as shall embrace as many views as 
 possible; and it is desirable that such embellishment should be 
 seen from different parts of the villa. The paramount design of these 
 buildings is to augment the interest and character of the scenery; 
 therefore, too much attention cannot be bestowed upon a proper 
 style and situation. (Plate 4.) It has been said, that the beauties 
 of objects, whether natural, relative, or artificial, are conveyed to 
 the senses by the different qualities of matter, form, sound, colour, 
 or motion; but form is the grand characteristic of matter, and 
 acts powerfully on the organ of sight in eliciting approbation. 
 
 In addition to the form of buildings for ornamented grounds, 
 another essential is particularly to be attended to—utility; and a 
 leading object for the artist to attain, is the union of the ornamental 
 
RURAL ORNAMENTS. 
 
 67 
 
 with the useful: and when this is accomplished, the success is com¬ 
 plete. The ornamenting of grounds with buildings prevailed among 
 the ancients, and consisted principally of temples, terraces, statues, 
 fountains, &c., constructed of marble, stone, and reticulated brick¬ 
 work; and were generally of a description that could not at all 
 times assimilate with rural elegance. 
 
 Rural scenery, in the grounds of a country residence, is now 
 made to accord with the simple, or the magnificent scenes, which 
 nature offers to the view ; and in all the ornaments introduced, there 
 must be an agreement with those respective scenes, at all times 
 preserving the character of the useful and the elegant. 
 
 Part of the villa may be shown from a summer-house with good 
 effect; particularly if it be seen at a moderate distance and through 
 trees, which by the opposition of colour will improve the glance at 
 the house, and also excite pleasing ideas of home, comfort, and the 
 charms of rural elegance. Vases and statues, tastefully disposed 
 about the pleasure-grounds, have a pleasing effect; and, in extensive 
 shrubberies, the arrangement of statues and busts, if numerous, 
 should be directed by classical taste, that they may be disposed 
 with propriety and truth: no greater absurdity can appear, than 
 such decorations indiscriminately mixed, or without literary order. 
 “ Classical associations,” Stewart observes, “ have added immensely 
 to our natural resources; but at the same time have warped our 
 
68 
 
 RURAL ORNAMENTS. 
 
 taste ill various instancesacquiring, as Alison adds, “ a superiority 
 over the more permanent principles of beauty, and determining, 
 for a time, the taste of nations.” In the disposal of this description 
 of ornament, there should appear no desire to exhibit an osten¬ 
 tatious display; and where minute inspection may be required, 
 the means of affording it should be furnished; but generally a 
 glimpse at a few of these objects through trees, from some parts 
 of the house, will be sufficient to relieve and improve the appear¬ 
 ance of the grounds ; but in general, busts will be better disposed 
 in the walks, and amongst thick shrubberies. 
 
 The effect of a shady walk may be considerably heightened by 
 the introduction of a rustic seat, to which the observer will be in¬ 
 sensibly drawn; and, after having enjoyed the gay scenes of the 
 flow T er-garden, will be no less charmed with the sombre appearance 
 of this retreat. There is a charm peculiar to shady retirement, after 
 having enjoyed sunny scenes of elegance and beauty; and to a con¬ 
 templative or studious mind these sequestered spots are particularly 
 interesting. Among the embellishments of a villa, a temple, a 
 fishing-house, or a boat-house, on the margin of the lake, may be 
 rendered attractive; especially if seen to advantage from distant 
 parts of the grounds : in which case, they must partake of the cha¬ 
 racter of the scene with which they are to harmonize. If the 
 banks of the lake should approach each other so as consistently to 
 
RURAL ORNAMENTS. 
 
 69 
 
 admit of a bridge, which could be seen to advantage from the 
 house, so many pleasing sensations are connected with such an 
 object, that it should be constructed; but with due regard to cha¬ 
 racter. 
 
 Rock-work may be introduced into gardens, however small or 
 extensive ; but it should be confined to the picturesque part of them, 
 or be made to add to the effect of the wildest scenes of nature. 
 When relics of antiquity are introduced, they should be constructed 
 with the greatest judgment, so as to bear a character of truth; any 
 attempt at deception, which a glance may discover, cannot be viewed 
 either with curiosity or pleasure. These erections should appear 
 to have some historical connexion. Ruins of ancient grandeur, if 
 constructed so as to be in accordance with their situations, become 
 objects of great importance to the grounds of an extensive domain, 
 as they afford subjects for contemplation; and the scenery which 
 surrounds them should conspire to present a whole consistent with 
 taste. A painting gives more delight by expressing a fine imagi¬ 
 nation, than by the splendour of its execution or general effect; 
 where the mind is gratified, the eye is delighted. 
 
 A just taste for rural scenes is required to dispose rock-work to 
 advantage: pleasing, interesting, or picturesque objects, may be 
 formed upon shaded banks and precipices, especially where water, 
 or a cascade, can be introduced. 
 
70 
 
 RURAL ORNAMENTS. 
 
 A list of the most ornamental shrubs and herbaceous plants, 
 suited to the display among rock-work may be found serviceable 
 to those who admire such interesting ornaments. The following may 
 be recommended as appropriate:— 
 
 SHRUBS. 
 
 Juniperus prostrata, 
 
 -Sabina, 
 
 Pyrus Japonica, 
 Daphne cneorum, 
 Arbutus uva ursi, 
 Vaccinium Vitis Idoea, 
 Rubus arcticus, 
 
 Ulex nanus, 
 
 Cistus helianthemum, 
 Cneorum tricoccum, 
 Linnaea borealis, 
 Gaultheria procumbens, 
 
 Poly gala Chaema-buxus, 
 Vinca minor, 
 
 Cytisus purpureus. 
 
 Erica tetralix, 
 
 - vagans, 
 
 - ciliaris, 
 
 - caerulea, 
 
 Mitchella repens, 
 Rhododendron Caucasicum, 
 
 -chamae cistus, 
 
 Azalia procumbens, 
 
 Epigea repens. 
 
 HERBACEOUS PLANTS. 
 
 Tussilago odorata, 
 Alyssum deltoides, 
 
 Fumaria cava, 
 
 - eximia, 
 
 Erinus Alpinus, 
 Anemone Appenina, 
 
 -nemorosa, 
 
 Pulmonaria divaricata, 
 Lepidium Alpinum, 
 
 Gentiana pneumananthe, 
 i vema, 
 
 Asperula odorata, 
 Erodium chamaedroides, 
 
 -Romanum, 
 
 Saxifraga oppositifolia, 
 
 -petraea, 
 
 -pilosa, 
 
 -gran u lata, 
 
RURAL ORNAMENTS. 
 
 71 
 
 Saxifraga androsace, 
 
 -stellaris, 
 
 -sarmentosa, 
 
 Antirrhinum Alpinum, 
 
 -cymbellaria, 
 
 Soldanella Alpina, 
 
 Draba aizoides, 
 
 - hirta, 
 
 - incana, 
 
 Phlox setacea, 
 
 - subulata, 
 
 - stolonifera. 
 
 Lychnis Alpina, 
 
 Oxalis acetosella, 
 
 - - violacea, 
 
 Hippocrepis comosa, 
 Chrysosplenium altemifolium, 
 
 - oppositifolium, 
 
 Epimedium Alpinum, 
 
 Saponaria ocymoides, 
 Thalictrum Alpinum, 
 Convallaria bifolia, 
 
 Geum montanum, 
 
 - repens, 
 
 Potentilla alba, 
 
 -fragarioides, 
 
 Hymenophyllum Tunbridgense, 
 Glaux maritima, 
 
 Orobus varius, 
 
 Androsace carnea, 
 
 -chamsejasme, 
 
 Aphyllanthes Montpeliensis, 
 
 Cheiranthus Alpinus, 
 
 Arenaria saxatillis, 
 
 Galium Graecum, 
 
 Dianthus Alpinus, 
 
 -pungens, 
 
 -procumbens, 
 
 -hyssopifolius, 
 
 Rhodiola rosea, 
 
 Houstonia casrulea, 
 
 Pinguicula Alpina, 
 
 Alchemilla pentiphylla, 
 
 -Alpina, 
 
 CEnothera pumilla, 
 
 -caespitosa, 
 
 -Missouriensis, 
 
 Lithospermum purpureum-caeruleum, 
 Convallaria majalis, 
 
 Jasione montana, 
 
 Gnaphelium arenarium, 
 
 Dalibardia fragarioides, 
 
 Swertia perennis, 
 
 Asplenium adiantum nigrum, 
 
 -trichomanes, 
 
 Stipa pinnata, 
 
 Cynoglossum omphaloides, 
 
 Sedum telepium, 
 
 - aizoon, 
 
 -rupestris, 
 
 Artemisia glacialis, 
 
 Ononis repens, 
 
 Veronica Alpina, 
 
 -prostrata, 
 
72 
 
 RURAL ORNAMENTS. 
 
 Sempervivum montanum, 
 
 - globiferum, 
 
 Campanula pumilla, 
 
 - hederacea, 
 
 Silene acaulis, 
 
 Lotus corniculatus, 
 Hieracium Alpinum, 
 Gypsophylla prostrata, 
 Epilobium Alpinum, 
 Thymus Alpinus, 
 -serphyllum, 
 
 Thymus zygis, 
 
 Achillea Alpina, 
 
 Onoclea sensibilis, 
 Trifolium Alpinum, 
 
 -ochroleucum, 
 
 Asclepias decumbens, 
 Pachysandra procumbens. 
 Convolvulus sepium, 
 Hedysarum obscurum, 
 Eriophorum Alpinum, 
 Drosera rotundifolia. 
 
 There are instances, where pyramids of rock-work are to be seen 
 in open parts of flower-gardens and pleasure-grounds, which, being 
 executed without taste or connexion, appear like unmeaning lumps ; 
 while the same materials and labour, judiciously applied, would form 
 interesting objects. The natural irregularity of rocks will reasonably 
 lead the artist to the formation of irregular and picturesque ob¬ 
 jects, and when such varied materials are employed to ornament plea¬ 
 sure-grounds, it is unpardonable not to give all the picturesque effect 
 they may be made to produce. The great diversity of striking 
 forms which may be exhibited by these bold and varied materials, 
 render them desirable in rude and picturesque scenery; they are 
 pleasing on the smallest scale, if arranged according to nature ; and 
 where the grounds are of great extent, the grandest and most im¬ 
 posing scenes of an imitative nature may be effected. 
 
RURAL ORNAMENTS. 
 
 73 
 
 An irregular and winding path, leading down a precipice toward 
 a cavern, having the appearance of antiquity in all the rudeness of 
 decay, will form a striking object of the picturesque; and if water 
 can be added by natural or artificial means to such a spot, the effect 
 will be considerably heightened. Here wild indigenous aquatic plants 
 may be naturally disposed; while the trickling of the water and the 
 solemn gloom will conspire to give the scene a touch of the sublime. 
 Grottoes are nearly allied to rock-work ; they are not frequently con¬ 
 structed in pleasure-grounds in this country: although in some in¬ 
 stances they may give pleasure from variety, and in some situations 
 afford shelter and shade. The formal arrangement of delicate shells, 
 interspersed with marine productions, however costly or rare, will not 
 be found to accord with modern taste, as decorative to a villa : they 
 belong to the age of incongruity in Landscape Gardening. 
 
 Rustic summer-houses and garden-seats are pleasing and useful 
 objects, particularly in extensive grounds: they serve as places of 
 rest, and act as guides to the best points from which the beauties of 
 the surrounding scenes are viewed to the greatest advantage. There 
 should be no seat but were some pleasing object is in view— 
 
 “ There to relish calm delight, 
 
 Verdant vales, and fountain bright, 
 
 Trees that nod on sloping hills, 
 
 Caves that echo tinkling rills.” 
 
 L 
 
74 
 
 RURAL ORNAMENTS. 
 
 The style of these useful ornaments must depend on the situation 
 in which they are placed: if among the rude scenes of neglected 
 nature, or in romantic and recluse situations, a rustic seat or summer¬ 
 house constructed of rough branches will be most suitable; but 
 where the hand of art has been more scientifically employed, such 
 ornaments may be introduced as will form appropriate accompa¬ 
 niments, and appear in unison with the surrounding scenery. While 
 the spectator rests, the rustic or the decorated seat gives opportunity 
 for examining some natural or artificial beauty, which might not 
 otherwise have received particular attention. These resting-places 
 afford to kindred tastes an opportunity of pointing out to each other 
 innumerable effects and combinations that else might have been un¬ 
 noticed ; they are the points whence the highest gratification of the 
 spectator is derived, and they contribute the most satisfactory reward 
 to the Landscape Gardener. 
 
 Passing from the house through the pleasure-grounds to the park, 
 prospects on a more extensive scale open on the view, where should 
 be displayed such embellishments as are suited to the grandeur of 
 the scene. Those animals which occasionally appear in the park will 
 assist in exciting the attention of the spectator; scenes of animated 
 nature never fail to please under these circumstances. Deer, cattle, 
 sheep, hares, and fowls of various descriptions, enliven and decorate 
 the park: these not only contribute to raise ideas of the extent of 
 the place, but are necessary to complete a due portion of grandeur; as 
 
RURAL ORNAMENTS. 
 
 75 
 
 pheasants and other birds of splendid plumage add to the beauty 
 of the pleasure-ground. The cawing of rooks, the screams of pea¬ 
 cocks, the enlivening notes of the thrush, and the sweet melody of 
 the nightingale, are desirable in their respective situations; and these 
 may be obtained by introducing the peculiar trees or shrubs in 
 which those birds delight. » 
 
 The view of the farm, a distant village, the spire of a church, 
 or an obelisk, become interesting in certain views: these will be 
 sought for and turned to account by the judicious Landscape Gar¬ 
 dener. Many artificial means, which cannot be here particularized, 
 may be resorted to on various occasions for assisting the effect of 
 nature. (Plate 6.) The keeper’s house and the park lodges may 
 be of a rustic character, which from many points may be rendered 
 agreeably interesting. Where walks are constructed in the park, all 
 pleasurable objects which appertain to rural scenes should be intro¬ 
 duced ; they act on the eye like sparkling touches in a picture, which 
 excite the imagination, and render it conducive to increased en¬ 
 joyment. 
 
 “ Where, scattered wild, the lily of the vale 
 Its balmy essence breathes; where cowslips hang 
 The dewy head, where purple violets lurk,— 
 
 With all the lowly children of the shade.” 
 
 If the boundaries of the domain be seen, they should vary in 
 character : sometimes of stone or brick; but generally of wooden 
 
76 
 
 RURAL ORNAMENTS. 
 
 palings of the most rustic character, which, although less durable, 
 being more picturesque, are preferable. Iron hurdles may sometimes 
 be necessary to form part of the park boundaries, that the eye may 
 embrace the distant views. It may be here noticed, that an invisible 
 fence, between the pleasure-ground and the park, will occasionally 
 add much interest to the general appearance of the scenery; the 
 ha-ha, or sunk fence, may be used in some parts, while other parts 
 may be excluded by close plantations : light iron invisible fences are 
 well adapted to the separation of grounds. The great improvements 
 in the manufacture of iron-work have brought this elegant descrip¬ 
 tion of fence much into use; and of this material are formed elegant 
 and useful ornamental basket-work for surrounding beds of flowers, 
 or guards for trees; also trellis-work of various decorative descrip¬ 
 tions for stages on which flowering plants may be placed, either to 
 fill an accidental chasm, or to give additional splendour to particular 
 parts of the pleasure-grounds. 
 
 Farm-houses, if suitably constructed and ornamented, may cer¬ 
 tainly be included within the decorations of an estate: they are ne¬ 
 cessary appendages, and may justly be considered as forming an 
 interesting part of the rural scenery. Where a farm is upon a small 
 scale, and is retained in the hands of the owner for private cultiva¬ 
 tion, the farm-house and buildings may join the park, and still be 
 rendered agreeable objects of interest to the scenery. Where the 
 neighbouring lands are held by tenants, it is not objectionable for 
 
RURAL ORNAMENTS. 
 
 77 
 
 one or more farm-houses to be in view from parts of the park: while 
 their appearance denotes utility, they can never become objection¬ 
 able. Many farm-houses, with extensive unconnected outbuildings in 
 the old style, do not accord well with park scenery; but, as great 
 improvements have recently taken place in the arrangement of these 
 establishments, they may generally be considered an interesting and 
 enlivening portion of distant scenery : they present a contrast to the 
 cultivated and decorated scenes surrounding the villa; and will 
 always be viewed with peculiar feelings of satisfaction, as the ha¬ 
 bitations of one of the most valuable classes of a well-regulated 
 society. 
 
ESSAY VII. 
 
 DISTANT SCENERY. 
 
 There are many particulars connected with the distant scenery 
 which form part of the view from a villa, over which the Landscape 
 Gardener has no immediate control; yet such objects and parts as 
 are beautiful should be rendered more conspicuous, while the scenery 
 is surveyed from the house ; and if, in traversing the walks, portions 
 of the distance on which the eye may be invited to repose do not 
 become interesting objects, such may be obscured. 
 
 On the most eligible spots the plantations may form vistas; and if 
 this be duly considered when the site of the building is selected, the 
 better will be the accordance. Circumstances of importance fre¬ 
 quently occur in making alterations, which require the felling of 
 large trees : such circumstances deserve most serious consideration 
 
DISTANT SCENERY. 
 
 79 
 
 before the axe is wielded, since an irreparable loss may be sustained; 
 nor should felling ever be resorted to, unless when trees are too near 
 the dwelling, when they obstruct some desirable view into the dis¬ 
 tance, or when a superabundance renders it necessary : either of these 
 cases may warrant the removal of timber trees; but the operation of 
 felling such stately tenants should not be carried into effect without 
 much consideration, and the entire approbation of the proprietor. 
 
 The union of the fore-ground with the distance, characteristically 
 considered, produces great additional beauty; hills, distant woods, 
 and mountains, present variously enriched lines which mark the 
 botmdary of vision. Where those forms partake of the broken or 
 rough character, the fore-ground should assume the picturesque, by 
 irregularity of surface and appropriate planting. Where the distant 
 lines are blended into soft or flowing forms, the graceful slope or 
 flowery lawn will best harmonize; and, in either case, render the 
 scene more desirable, as the principal view from the villa. 
 
 Water is eminently a principal object in enlivening the effect of 
 Landscape Scenery; and whether it be seen winding along a distant 
 vale, or foaming over a precipice, this element gives much brilliancy 
 to the scene, and advantage should be taken of it on all possible 
 occasions, to enliven and embellish the view. Plantations which have 
 neither pleasing nor picturesque outlines, but stretch in dull uniform 
 masses across the view with a smooth and level foliage, should be 
 
80 
 
 DISTANT SCENERY. 
 
 broken by a mixture of trees of different species and growth; or 
 perhaps the line may be opened and broken with increased effect, 
 and a variety in form obtained, which shall produce a contrast of 
 bright lights and deep shadows in the outline; this treatment of 
 formal plantations will generally destroy offensive clumps and the 
 belt-like appearance, which too frequently disfigure the face of a 
 country. (See Plate 6.) Mr. Price says, “ Clumps placed on sum¬ 
 mits of hills alarm the picturesque traveller many miles off, and warn 
 him of his approach to the enemy : the belt lies more in ambuscade; 
 and the wretch who falls into it, and is obliged to walk the whole 
 round in company with the improver , will be forced to allow, that 
 a snake with its tail in its mouth is comparatively but a feeble em¬ 
 blem of eternity.” 
 
 The belt has all the condemnable sameness and formality, without 
 the redeeming grandeur of the avenue to which it has succeeded. 
 In an avenue, similar objects are seen from beginning to end. In 
 the belt, at intervals of twenty yards, groups of trees succeed each 
 other throughout the insipid circle, without the least relief in variety. 
 The contrast of masses with groups must not be too strong where 
 grandeur is the character of the scene, for unity is essential to great¬ 
 ness in this particular. If a wood be opened too much, it is no longer 
 one object, but a confused collection of plantations. If the progress 
 from one group to the other be gradual, then shapes and tints differ- 
 
DISTANT SCENERY. 
 
 81 
 
 ing from each other will be produced on the same surface; and each 
 mass will occupy a considerable space, in agreement with the pic¬ 
 turesque : a single tree, or a cluster of trees, on the edge of an ex¬ 
 tensive wood, in size and colour is but a mere spot. To break 
 uniformity in the appearance of a wood, the groups and masses must 
 be large to produce any sensible variety. 
 
 In arranging trees to produce an irregular outline, it is advisable to 
 guard against formal repetition of shape or interval. Distant planta¬ 
 tions should be, or at least appear to be, connected, forming ample 
 and bold masses, in which character they partake of grandeur : but 
 if divided and dispersed, they appear petite and unconnected; unite 
 them, and they form a bold and grand chain of natural and inte¬ 
 resting beauty. In speaking of the effect of masses of plantations, 
 and of their appearing to be connected, it is always with reference 
 to such forms as possess a character in accordance with the scenery. 
 
 It must be acknowledged, that from every point of view, on the 
 grounds of an extensive domain, from which distant plantations may 
 be seen, the character may not always be preserved ; but it is under 
 such circumstances that the skill of the Landscape Gardener may 
 be exercised with effect; and where all cannot be obtained, the best 
 will be selected. An infinite variety of circumstances and objects 
 may be connected with the distant views, which become deeply in¬ 
 teresting ; the hedge-rows, the pasture and arable lands, the humble 
 
 M 
 
82 
 
 DISTANT SCENERY. 
 
 cottage with the smoke curling amid the surrounding trees, while 
 the village and its towering steeple on the border of the stream, 
 with its lively reflections—the bridge, the mill, or the stately ruin, 
 each offer beauties that may be heightened by a judicious appro¬ 
 priation of the surrounding scenery, over or through which they 
 may be seen from the residence; and the selection of appropriate 
 character in the breaks and foliage of trees to increase these beauties, 
 is the province of the Landscape Gardener. 
 
 At length the finished garden to the view 
 Its vistas opens, and its alleys green. 
 
 Snatch’d through the verdant maze, the hurried eye 
 Distracted wanders: now the bowery walk 
 Of covert close, where scarce a speck of day 
 Falls on the lengthen’d gloom, protracted sweeps ; 
 Now meets the bending sky; the river now 
 Dimpling along, the breezy-ruffled lake, 
 
 The forest darkening round, the glittering spire, 
 The ethereal mountain, and the distant main.” 
 
ESSAY VIII. 
 
 ON GENERAL APPEARANCES. 
 
 The variety of effects and combinations of natural scenery, em¬ 
 bracing the beautiful and picturesque, from the simple to the sublime, 
 possess so many charms, that admiration and rapture are but feeble 
 terms to express the gratification which the cultivated mind feels 
 and acknowledges, while contemplating these delightful combina¬ 
 tions of Nature’s grandest productions. To minds so formed may 
 be addressed the hope, that it will not be deemed presumption to 
 assert that the art of Landscape Gardening could, by a judicious 
 application of its powers, communicate a harmonizing charm, or give 
 a unison of character rarely to be found in the promiscuous scenes 
 of Nature. Undulated ground, water, trees, rocks, and buildings, 
 are the essentials resorted to for this purpose : these can be so diver- 
 
84 
 
 ON GENERAL APPEARANCES. 
 
 sified in composition, so varied in hue, form, character, and beauty, 
 as to be almost infinite in their varieties of application. If it were 
 possible to exhibit those objects confusedly disposed or unharmoni- 
 ously combined, and while they were viewed, the just appropriation of 
 the objects were to take place, producing all the perfection of which 
 they were capable, it would be a magical operation; and the art of 
 combining scenic objects would be shown, the improved effect in 
 composition rendered evident, and the application of the Art of 
 Landscape Gardening conspicuously displayed to advantage. 
 
 Who is insensible to the tasteful outline of the well-grouped 
 plantations; to finely shorn grass, having shrubs and trees tastefully 
 disposed upon it; to the walk gracefully winding through the grove 
 to some sequestered spot, assuming the appearance of neglected 
 nature, where the purling stream murmurs through the thicket with 
 its soothing notes reverberated and softened amid the trees, until 
 through the vista opening on the decorated scenery the eye is gra¬ 
 tified and the heart delighted ? Language can but faintly express 
 these beauties: here it must pause; it cannot communicate the full 
 and true touch of nature, her living and endless varieties of form and 
 colours—so varied are the scenes which she exhibits, and so infinite 
 their combinations and their peculiarities. 
 
 And oh ! the transport most allied to song, 
 In some fair villa’s peaceful bound, 
 
ON GENERAL APPEARANCES. 
 
 85 
 
 To catch soft hints from Nature’s tongue, 
 And bid Arcadia bloom around; 
 
 Whether we fringe the sloping hill, 
 
 Or smooth below the verdant mead— 
 Whether we break the falling rill. 
 
 Or through meandering mazes lead, 
 
 Or in the horrid brambles’ room, 
 
 Bid careless groups of roses bloom— 
 
 Or let some sheltered lake serene 
 
 Reflect the groves and brighten all the scene.” 
 
 The decorative scenery which surrounds a country villa will ever 
 be esteemed in proportion to the effect which it produces upon the 
 spectator : but it is not sufficient that these objects, individually con¬ 
 sidered, are beautiful while partially or wholly displayed from the 
 walks; there is an effect to be produced by those objects which come 
 into combination with the distance as seen from the windows: from 
 these points all that the eye embraces should unite in presenting one 
 harmonious picture. The foreground is rendered ornamental by art, 
 and as far as the Landscape Gardener can operate, the distance is 
 combined with the scene, and objectionable parts have been planted 
 out or obscured; and art has also assisted in obtaining a just op¬ 
 position of tone, by robing the grounds to harmonize with the ad¬ 
 jacent scenery. Space does not always give the idea of grandeur; a 
 more limited sphere is often better adapted to the display of orna¬ 
 ment and beauty. 
 
86 
 
 ON GENERAL APPEARANCES. 
 
 The characteristics of a pleasure-ground should be elegance, va¬ 
 riety and harmony; by judicious contrasts in the distribution of 
 flower-beds, shrubs and plantations, with other tasteful and appro¬ 
 priate decorations. The flower-garden is an indispensable appendage 
 to the pleasure-ground, where the gems of nature are to expand in 
 all their variegated charms of form and hue. The splendour of their 
 blooms should not be visible from distant parts of the ground : the 
 minutiae of their beauties demands a nearer view, to note their 
 
 “ Infinite numbers, delicacies, smells. 
 
 With hues on hues expression cannot paint, 
 
 The breath of Nature, and her endless bloom.” 
 
 The character of the park should be grandeur,—presenting rich and 
 extensive views, ornamented with well grouped plantations, which 
 must be accommodated to the line of surface that nature has fur¬ 
 nished ; and, to form a picturesque effect, the arrangement of objects 
 should wear an easy irregularity in their outline, a lightness and 
 airiness should pervade those in the foreground, and rude masses 
 should be opened to give forms suited to the prevailing character of 
 the scene. Unless the beauty and grandeur which objects separately 
 possess appear to the observer, there is a faulty and injurious ar¬ 
 rangement, arising from not having had a clear perception of the 
 effect in the first instance. There must, necessarily, be considerable 
 difference in the style of laying out grounds, which must depend on, 
 or be adapted to, the extent or particular circumstances attached to 
 
ON GENERAL APPEARANCES. 
 
 87 
 
 situation. Upon a limited piece of ground, attached to a cottage 
 or small villa, perhaps no greater portion than may be compre¬ 
 hended in the view from the villa should receive much embellish¬ 
 ment ; and the endeavour must be to introduce as great a variety 
 as can consistently be admitted: but an extensive piece of ground 
 affords proportionate opportunity for the Landscape Gardener to 
 display taste and ingenuity in producing ornamental and picturesque 
 effect; as a greater diversity of subjects, both natural and artificial, 
 may be judiciously and appropriately introduced. Prospects from 
 different points of view, vistas, groves, lakes, temples, statuary, &c., 
 with their addition of individual beauty, give to the whole an 
 imposing effect of magnificence. 
 
 Taking a general view of the modern art of Gardening, its supe¬ 
 riority to the antiquated style must be obvious to those who possess 
 taste, and delight in Landscape scenery. A natural irregularity has 
 superseded the stiff geometrical system—the square and compass 
 have given place to a graceful freedom, embracing the elegancies 
 of taste and art, both of which are intimately blended with the 
 operations of the Landscape Gardener. 
 
 It is now surprising that the beauty of a garden could ever be 
 thought to consist in nicely measured parallel lines, in justly regu¬ 
 lated squares, in truly drawn circles or geometrical forms with sides 
 precisely corresponding, and ornaments of stone, placed throughout 
 with undeviating exactitude. Yet while Landscape Gardening has 
 
88 
 
 ON GENERAL APPEARANCES. 
 
 been undergoing a change, some portion of the formality of the old 
 style has been retained, by having the plantations in curved, instead 
 of straight lines ; yet in these a formality remained, although it was 
 perhaps rendered less offensive. The transition would have been 
 too violent in the first instance, perhaps, to have adopted, in the place 
 of uniform and mathematical lines, natural and graceful forms. As 
 much has been gradually attained as could possibly be expected: the 
 old system had been adhered to for centuries, consequently the 
 modern style had much to contend against, in eradicating the pre¬ 
 judices which continued to exist. It was, indeed, an undertaking 
 of an arduous nature; however, the barrier being broken through, 
 the citadel has surrendered, and the rapid progress this art has made 
 is as triumphant as it is delightful: but let it not be imagined 
 that the summit of the art has been attained; much remains to be 
 accomplished in furthering a taste for natural scenery, or such as 
 approximates in form and tone to the beautiful and picturesque. 
 
 It is in the construction of the house and offices the greatest 
 conveniences are expected to be found, and regularity in some de¬ 
 gree may assist in furthering the end desired: but these principles 
 do not attach to the constructing of the pleasure-grounds; here 
 the introduction of well-selected objects, possessing the calmness 
 or the wildness of nature, and the removal of objects that may im¬ 
 pede the view of scenes more consistent with the grand original, 
 is a desideratum in Landscape Gardening. 
 
ipiFTEMSHT SITUATIONS OF HOUSES. 
 
ML.AN OF PILEASTIXRK GROUNDS SURROUNDING A VUXA- 
 
PICAS’ OF A FILOWIEK GARDEN & MOSABY. 
 
£LM, 
 
 DEC©KATE® SCENERY. 
 
£LZZ 
 
 BECOEATK© SCEISETRY. 
 
PI. V. , 
 
 WAT E HIP ALL, 
 

 
'aanoHm 
 

 VIEW IMPROVED. 
 
DESCRIPTION OF THE PLATES. 
 
 PLATE I. 
 
 Represents different situations of Country Residences, the extremes 
 of hill and dale, and the intermediate or preferable situation, as 
 described in Essay I. 
 
 PLATE II. 
 
 Plan of a Country Villa, with the Offices, Pleasure-grounds, &c. 
 adjoining; the numbers refer to the respective parts. 
 
 1. The Villa. 
 
 2. Drying Ground and Domestic Offices. 
 
 3. Stables. 
 
 4. Kitchen Garden. 
 
 5. Forcing Houses and Melon Grounds. 
 
 6. Orchard. 
 
 N 
 
90 
 
 DESCRIPTION OF THE PLATES. 
 
 7. Conservatory. 
 
 8. Flower Garden. 
 
 9. Lawn. 
 
 10. Arboretum. 
 
 11. Ground for American Plants. 
 
 12. Green-houses. 
 
 13. Water and Rock-work. 
 
 14. Summer-houses and Seats. 
 
 15. Park. 
 
 16. Lodge Gate. 
 
 In the Park are vistas, (see Plate VI.) through which the eye is di¬ 
 rected to parts of the Water, and interesting portions of the Sce¬ 
 nery. The principal Road is shown with reference to the description 
 in Essay III. The Ground behind the Villa is supposed to have 
 a gradual ascent, and to be covered with Plantations. 
 
 PLATE III. 
 
 Is a Ground Plan of a Flower Garden and Rosary. The Flower 
 Garden is in the style of irregularly-shaped beds, as described in 
 Essay III. The Walks consist of a principal Path from the House ; 
 a second from the shady Wood-walks; and a third through the 
 Arboretum, from which another branches to the Rosary. 
 
DESCRIPTION OF THE PLATES. 
 
 91 
 
 PLATE IV. 
 
 Is intended to show the means by which an unsightly mass of 
 Earth, or an incongruous piece of Rock, covered with a clump, 
 may be converted into an interesting feature in the Decorations 
 of a Villa. It shows the effect of judiciously cutting away parts 
 of the wood to obtain prospects; and it exhibits the improve¬ 
 ments which may be made by Planting a few Flowering Shrubs, in 
 agreement with the change of scene thus effected, and described 
 in Essay VI. 
 
 PLATE V. 
 
 Represents the pleasing effect which may be produced by the Fall 
 of a Sheet of Water over masses of Rock. In this Scene the 
 trees are intended to be shown as having been planted expressly 
 to exhibit the wildness of Natural Scenery, as alluded to in 
 Essay V. 
 
 PLATE VI. 
 
 Shows the effect of opening a Belt, by judiciously thinning the 
 Trees; and by the introduction of some of different species; through 
 which, as through a vista, the preferable parts of the Scenery, near 
 or remote, may be seen, as described in Essay VII.