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der to produce, not only an emotion of beauty, but also some other particular emotion, grandeur, for example, gaiety, or any other above mentioned. The completest plan of a garden is an improvement upon the third, requiring the several parts to be so arranged, as to inspire all the different emotions that can be raised by gardening. In this plan, the arrangement is an important circumstance; for it has been shown, that some emotions figure best in conjunction, and that others ought always to appear in succession, and never in conjunction. It is mentioned above,* that when the most opposite emotions, such as glooominess and gaiety, stillness and activity, follow each other in succession, the pleasure, on the whole, will be the greatest; but that such emotions ought not to be united, because they produce an unpleasant mixture. For this reason, a ruin affording a sort of melancholy pleasure, ought not to be seen from a flower-parterre which is gay and cheerful. to pass from an exhilarating object to a ruin, has a fine effect; for each of the emotions is the more sensibly felt by being contrasted with the other. Similar emotions, on the other hand, such as gaiety and sweetness, stillness and gloominess, motion and grandeur, ought to be raised together; for their effects upon the mind are greatly heightened by their conjunction.

But

Kent's method of embellishing a field is admirable; which is to replenish it with beautiful objects, natural and artificial, disposed as they ought to be upon a canvas in painting. It requires indeed more genius to paint in the gardening way: in forming a landscape upon a canvass, no more is required but to adjust the figures to each other: an

*

Chapter VIII.

t Chapter II. Part iv. See the place immediately above cited.

artists who would form a garden in Kent's manner, has an additional task; which is, to adjust his figures to the several varieties of the field.

A single garden must be distinguished from a plurality; and yet it is not obvious in what the unity of a garden consists. We have indeed some no tion of unity in a garden surrounding a palace, with views from each window, and walks leading to every corner; but there may be a garden without a house; in which case, it is the unity of design that makes it one garden; as where a spot of ground is so artfully dressed as to make the several portions appear to be parts of one whole. The gardens of Versailles, properly expressed in the plural number, being no fewer than sixteen, are indeed all of them connected with the palace, but have scarce any mutual connexion: they appear not like parts of one whole, but rather like small gardens in contiguity. A greater distance between these gardens would produce a better effect; their junction breeds confusion of ideas, and upon the whole gives less pleasure than would be felt in a slower succession.

Regularity is required in that part of a garden which is adjacent to the dwelling-house; because an immediate accessory ought to partake the regularity of the principal object :* but in proportion

*

The influence of this connexion surpassing all bounds, is still visible in many gardens, formed of horizontal plains forced with great labour and expense, perpendicular faces of earth supported by massy stone walls, ter race walks in stages one above another, regular ponds and canals without the least motion, and the whole surrounded, like a prison, with high walls excluding every external object. At first view it may puzzle one to account for a taste so opposite to nature in every particular. But nothing happens without a cause. Perfect regularity and uniformity are required in a house; and this idea is extended to its accessory the garden, especially if it be a small spot incapable of grandeur or of much variety; the house is regular, so must the garden be; the floors of the house are horizontal, and the garden must have the same position; in the house we are protected from every intruding eye; so must we be in the garden. This, it must be confessed, is carrying the notion of resemblance very far: but where reason and taste are laid asleep, nothing is more common than to carry resemblance beyond proper bounds.

VOL. II.

411

to the distance from the house considered as the centre, regularity ought less and less to be studied; for in an extensive plan, it hath a fine effect to lead the mind insensibly from regularity to a bold variety. Such arrangement tends to make an impression of grandeur: and grandeur ought to be studied as much as possible, even in a more confined plan, by avoiding a multiplicity of small parts. A small garden, on the other hand, which admits not grandeur, ought to be strictly regular.

Milton, describing the garden of Eden, prefers justly grandeur before regularity:

Flowers worthy of paradise, which not nice art
In beds and curious knots, but Nature boon
Pour'd forth profuse on hill, and dale, and plain;
Both where the morning-sun first warmly smute
The open field, and where the unpierc'd shade
Imbrown'd the noon-tide bow'rs.

Paradise Lost, b. iv

A hill covered with trees, appears more beautiful as well as more lofty than when naked. To distribute trees in a plain requires more art: near the dwelling-house they ought to be scattered so distant from each other, as not to break the unity of the field; and even at the greatest distance of distinct vision, they ought never to be so crowded as to hide any beautiful object.

In the manner of planting a wood or thicket, much art may be displayed. A common centre of walks, termed a star, from whence are seen remarkable objects, appears too artificial, and consequently too stiff and formal, to be agreeable: the crowding withal so many objects together, lessens the pleasure that would be felt in a slower succession

* See Chapter IV.

Abandoning therefore the star, let us try to substitute some form more natural, that will display all the remarkable objects in the neighbourhood. This may be done by various apertures in the wood, purposely contrived to lay open successively every such object; sometimes a single object, sometimes a plurality in a line, and sometimes a rapid succession of them: the mind at intervals is roused and cheered by agreeable objects; and by surprise, upon viewing objects of which it had no expectation,

Attending to the influence of contrast, explained in the eighth chapter, we discover why the lowness of the ceiling increases in appearance the size of a large room, and why a long room appears still longer by being very narrow, as is remarkable in a gallery: by the same means, an object terminating a narrow opening in a wood, appears at a double distance. This suggests another rule for distributing trees in some quarter near the dwelling-house; which is to place a number of thickets in a line, with an opening in each, directing the eye from one to another; which will make them appear more distant from each other than they are in reality, and in appearance enlarge the size of the whole field. To give this plan its utmost effect, the space between the thickets ought to be considerable; and in order that each may be seen distinctly, the opening nearest the eye ought to be wider than the second, the second wider than the third, and so on to the end.*

By a judicious distribution of trees, other beauties may be produced. A landscape so rich as to

* An object will appear more distant than it really is, if different coloured evergreens be planted between it and the eye. Suppose holly and laurel, and the holly which is of the deeper colour, nearer the eye: the degradation of colour, in the laurel, makes it appear at a great distance from the holly, and consequently removes the object, in appearance, to a greater distance than it really is.

engross the whole attention, and so limited as sweetly to be comprehended under a single view, has a much finer effect than the most extensive landscape that requires a wandering of the eye through successive scenes. This observation suggests a capital rule in laying out a field; which is, never at any one station to admit a larger prospect than can easily be taken in at once. A field so happily situated as to command a great extent of prospect, is a delightful subject for applying this rule: let the prospect be split into proper parts by means of trees; studying at the same time to introduce all the variety possible. A plan of this kind executed with taste will produce charming effects: the beautiful prospects are multiplied: each of them is much more agreeable than the entire prospect was originally and, to crown the whole, the scenery is greatly diversified,

As gardening is not an inventive art, but an imitation of nature, or rather nature itself ornamented; it follows necessarily, that every thing unnatural ought to be rejected with disdain. Statues of wild beasts vomiting water, a common ornament in gardens, prevail in those of Versailles. Is that ornament in a good taste? A jet d'eau, being purely artificial, may, without disgust, be tortured into a thousand shapes; but a representation of what really exists in nature, admits not any unnatural circumstance. In the statues of Versailles the artist has displayed his vicious taste without the least colour or disguise. A lifeless statue of an animal pouring out water, may be endured without much disgust: but here the lions and wolves are put in violent action, each has seized its prey, a deer or a lamb, in act to devour; and yet, as by hocus-pocus, the whole is converted into a different scene: the lion, forgetting his prey, pours out water plentifully; and the deer, forgetting its danger, performs the same

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