f . 1^ ..>
>r*
■ -v^ ,^. U
^'•^.:&..^ //i^"^
^.>:>:# 1^^^^ I
.^..«',>.^.* >:/i
Bl j!'
i*:i>:.&:6
Ti ^- /^ ^ fc. ^ '". • ■ ¥^ . •«;
"i . i
■«.:>. I*
._ .v> ^. ■ u| " -A; .
.i» . ^..; :|-' /^■■*■^*^*-^■^.v'
>l;:|/''
i :'^.
i .. ^ -J
J- ::, *
e***%^**^^»i*>-*!*rt^!*******n*.*
life . ti''' m "V3
■^.it^^v. ^^-^ ^*':- :^'': !*•
'^■^^. ^i' -'f
»
i ■ ^-* -'^^ir -^^-^'^^ ^«:,,. *.:. "«'■,, ^f •. t|: i#v ,11^ ■ f^. - ^i, -^71^. ^ ,1^.^ 1^ "^ r» ■* iv ■ ^M «f^ " ^ife- ^^:><#{, '^ii.' *,jr ^*"v.* *^'.,. ^*' . '^ . 1^ I* ■li«' '" a ■ f* /* -fi ^' ft ^\* -^
'^"y%^':m
©tjF i.ll ItU ICtbrarg
J^ortly (Carolina f'tatr QloUf 9?
SB473 D6
Arch.lio,
SB473 D6
Arch. lib. 7^4943 lowning
1844
A treatise on "cne
theory and practice of landscape garrier
Ins
ISSUED TO
^ \ ^'^^ J-^A^^dSLA^
SB473
D6
1844
Arch. Lib.
74943
PERMANENT RESERVE
Digitized by tine Internet Arciiive in 2009 witii funding from . NCSU Libraries
littp://www.arcliive.org/details/treatiseontlieorOOdown
*; *.— »— 4"- s*
M9^ 4km m^ aim •»
.«.#.»
«»^^:i^.
'■ <*.. fc
iJjAflJBBfiS f,« 3?;; fjTij-iPVT'fTrT' rv ><"r.T>ft)i^'wiw»w«ginw>wMiMt<»v<k)MMi>y^ -j -^
\^,' -I'r, 'iJi'MjiiianL'iJiV''"'-'^''^^^'""''"'''- '■"" '■•-^— ^
i* . '*
|
>#., |
.m |
|
> ■• |
f ■ •• |
|
w |
,'>*- |
|
'*■■ ^ 'il . |
|
•^n ^^ ^
I 't:T7?TiaBllBLltJllimilllUJJIlLlJI!IUiiIlUj:,UillUJllLmiLlilt]JllUlllllljHlHIII>HI
^.' ^"' u
all 1* ■'^ 1
A
TREATISE
ON
THE THEORY AND PRACTICE
OF
LANDSCAPE GARDENING,
ADAPTED TO
NORTH AMERICA;
WITH A VIEW TO
THE IMPROVEMENT OF COUNTRY RESIDENCES.
COMPRISING
HISTORICAL NOTICES AND GENERAL PRINCIPLES OF THE ART,
DIRECTIONS FOR LAYING OUT GROUNDS AND ARRANGING PLANTATIONS,
THE DESCRIPTION AND CULTIVATION OF HARDY TREES,
DECORATIVE ACCOMPANIMENTS TO THE HOUSE AND GROUNDS,
THE FORMATION OF PIECES OF ARTIFICIAL WATER, FLOWER GARDENS, ETC.
WITH REMARKS ON
RURAL ARCHITECTURE.
Seconli 3SDition,
ENLARGED, REVISED, AND NEWLY ILLUSTRATED.
By a. J. DOWNING,
AUTHOR OF DESIGNS FOR COTTAGE RESIDENCES, ETC.
' Insult not Nature with absurd expense, Nor spoil lier simple charms by vain pretence ; Weigh well the subject, he with caution bold, Profuse of genius, not profuse of gold."
NEW-YORK & LONDON:
WILEY AND PUTNAM. 1844.
Entered according to the Act of Congress, by
A. J. Downing,
In the Clerk's Office of the Southern District of New-York,
in the year 1841.
NEW-TORK :
"WlIiLIAM OsBORN, PeIKTER,
83 William.strect.
TO
JOHN aUINCY ADAMS, LL.D.,
EX-PKESIDENT OP THE UNITED STATES;
THE LOVER OF RURAL PURSUITS,
AS WELL A3
THE DISTINGUISHED PATRIOT, STATESMAN,
AND sage; THIS VOLUME,
BT FEBMISSION, IS EESPECTFULLT AND AFFECTIONATELY DEDICATED,
BT HIS FKIEND,
THE AUTHOR.
^
74S43
PREFACE
TO THE SECOND EDITION.
The favourable manner in which the first edition of this work has been received, is highly gratifying to the author ; and the strong interest existing, at the present moment, on the subject of rural improvement gives us every rea- son to hope that during the next twenty years, our advance towards a national taste in Landscape Gardening and Architecture, will be as rapid as it has hitherto been in the increase of population and general prosperity. Those, who have reflected how much the happy condition of a nation depends on the nature of its " country homes," will be able to appreciate the moral and social value of such a progress in taste.
In the present edition, a large part of the first portion of the work has been re-written, — some modification of the princi- ples of the art have been introduced, — considerable new matter has been added, — the whole has been revised, and newly and more copiously illustrated, from examples now existing in this country, — and the work is now offered in a much more complete form, than it was heretofore possible to present it.
A. J. D.
Highland Gardens, Newburgli, N. Y., Aug. 1844.
PREFACE.
A TASTE for rural improvements of every description is advancing silently, but with great rapidity in this country. While yet in the far west the pioneer constructs his rude hut of logs for a dwelling, and sweeps away with his axe the lofty forest trees that encumber the ground, in the older portions of the Union, bordering the Atlantic, we are sur- rounded by all the luxuries and refinements that belong to an old and long cultivated country. Within the last ten years, especially, the evidences of the growing wealth and prosperity of our citizens have become apparent in the great increase of elegant cottage and villa residences on the banks of our noble rivers, along our rich valleys, and wherever nature seems to invite us by her rich and varied charms.
In all the expenditure of means in these improvements, amounting in the aggregate to an immense sum, professional talent is seldom employed in Architecture or Landscape Gardening, but almost every man fancies himself an ama- teur, and endeavours to plan and arrange his own residence. With but little practical knowledge, and few correct princi- ples for his guidance, it is not surprising that we witness much incongruity and great waste of time and money. Even those who are familiar with foreign works on the sub- ject in question labour under many obstacles in practice, which grow out of the difference in our soil and climate, or our social and political position.
These views have so often presented themselves to me of
Vlll PREFACE.
late, and have been so frequently urged by persons desiring advice, that I have ventured to prepare the present volume, in the hope of supplying, in some degree, the desideratum so much felt at present. While we have treatises, in abun- dance, on the various departments of the arts and sciences, there has not appeared even a single essay on the elegant art of Landscape Gardening. Hundreds of individuals who wish to ornament their grounds and embellish their places, are at a loss how to proceed, from the want of some leading prin- ciples, with the knowledge of which they would find it com- paratively easy to produce delightful and satisfactory results.
In the following pages I have attempted to trace out such principles, and to suggest practicable methods of embellishing our Rural Residences, on a scale commensurate to the views and means of our proprietors. While I have availed myself of the works of European authors, and especially those of Britain, where Landscape Gardening was first raised to the rank of a fine art, I have also endeavoured to adapt my sug- gestions especially to this country and to the peculiar wants of its inhabitants.
As a people descended from the English stock, we inherit much of the ardent love of rural life and its pursuits which belongs to that nation ; but our peculiar position, in a new world that required a population full of enterprise and ener- gy to subdue and improve its vast territory, has, until lately, left but little time to cultivate a taste for Rural Embellish- ment. But in the older states, as wealth has accumulated, the country become populous, and society more fixed in its character, a return to those simple and fascinating enjoy- ments to be found in country life and rural pursuits, is witnessed on every side. And to this innate feeling, out of which grows a strong attachment to natal soil, we must look for a counterpoise to the great tendency towards con- stant change, and the restless spirit of emigration, which form part of our national character ; and which, though to a certain extent highly necessary to our national prosperity, are, on the other hand, opposed to social and domestic hap-
PREFACE. IX
piness. " In the midst of the continual movement which agitates a democratic community," says the most philosophi- cal writer who has yet discussed our institutions, " the tie which unites one generation to another, is relaxed or broken ; every man readily loses the trace of the ideas of his fore- fathers, or takes no care about them."
The love of country is inseparably connected with the love of home. Whatever, therefore, leads man to assemble the comforts and elegancies of life around his habitation, tends to increase local attachments, and render domestic life more delightful ; thus not only augmenting his own enjoy- ment, but strengthening his patriotism, and making him a better citizen. And there is no employment or recreation which affords the mind greater or more permanent satisfac- tion, than that of cultivating the earth and adorning our own property. " God Almighty first planted a garden ; and, in- deed, it is the parent of human pleasures," says Lord Bacon. And as the first man was shut out from the g-nrden, in the cultivation of which no alloy was mixed with his happiness, the desire to return to it seems to be implanted by nature, more or less strongly, in every heart.
In Landscape Gardening the country gentleman of leisure finds a resource of the most agreeable nature. While there is no more rational pleasure than that derived from its prac- tice by him, who
" Plucks life's roses in his quiet fields,"
the enjoyment drawn from it, (unlike many other amuse- ments,) is unembittered by the after recollection of pain or injury inflicted on others, or the loss of moral rectitude. In rendering his home more beautiful, he not only contributes to the happiness of his own family, but improves the taste, and adds loveliness to the country at large. There is, perhaps, something exclusive in the taste for some of the fine arts. A collection of pictures, for example, is compara- tively shut up from the world, in the private gallery. But the sylvan and floral collections, — the groves and gardens.
PREPACK.
which surround the country residence of the man of taste, — are confined by no barriers narrower than the blue heaven above and around them. The taste and the treasures, grad- ually, but certainly, creep beyond the nominal boundaries of the estate, and re-appear in the pot of flowers in the window, or the luxuriant, blossoming vines which clamber over the porch of the humblest cottage by the way side.
In the present volume I have sought, by rendering fami- liar to the reader most of the beautiful sylvan materials of the art, and by describing their peculiar effects in Landscape Gardening, to encourage a taste among general readers. And I have also endeavoured to place before the amateur such directions and guiding principles as, it is hoped, will assist him materially in laying out his grounds and arrang- ing the general scenery of his residence.
The lively interest of late manifested in Rural Architec- ture, and its close connection with Landscape Gardening, have induced me to devote a portion of this work to the con- sideration of buildings in rural scenery.
I take pleasure in acknowledging my obligations and re- turning thanks to my valued correspondent, J. C. Loudon, Esq., F. L. S., etc. of London, the most distinguished garden- ing author of the age, for the illustrations and description of the English Suburban Cottage in the Appendix ; to the seve- ral gentlemen in this country who have kindly furnished me with plans or drawings of their residences ; and to A. J. Davis, Esq. of New- York, and J. Notman, Esq. of Philadel- phia, architects, for architectural drawings and descriptions.
CONTENTS.
SECTION I.
HISTORICAL SKETCHES.
Objects of the art, page 10. The ancient and modern styles, p. 13. Their peculiarities, p. 14. Origin of the modern and natural style, p. 20. Influence of the English poets and writers, p. 22. Examples of the art abroad, p. 27. Landscape Gardening in North America, and examples now existing, p. 29.
SECTION II.
BEAUTIES OF LANDSCAPE GARDENING.
Capacities of the art, p. 47. The beauties of the ancient style, p. 48. General beauty, and picturesque beauty : their distinctive characteristics : with illustrations drawn from nature and painting, p. 49. Nature and principles of Landscape Gardening as an imitative art, p. 52. The Graceful School, p. 55. The Picturesque School, p. 56. Simple beauty of the art, p, 60. The principles of Unity, Harmony, and Variety, p. 61.
SECTION in.
WOOD AND PLANTATIONS.
The beauty of trees in rural embellishments, p. 66. Pleasure result- ing from their cultivation, p. 69. Plantations in the ancient style ; their formality, p. 70. In the modern style, p. 75. Grouping trees, p. 76. Arrangement and grouping in the Graceful school, p. 81. In the Pic-
XU CONTENTS.
turesque school, p. 83. Illustrations in planting villa, ferme ornee, and cottage grounds, p. 93. General classification of trees as to forms, with leading characteristics of each class, p. 104.
SECTION IV.
DECIDUOUS OKNAMENTAL TREES.
The history and description of all the finest hardy deciduous trees. Remarks on their effects in Landscape Gardening, individually, and in composition : their cultivation, etc. The oak, p. 118. The elm, p. 131, The plane or buttonwood, p. 136. The ash, p. 140. The lime or linden, p. 144. The beech, p. 148. The poplar, p. 152. The horse chestnut, p. ]58. The birch, p. 161. The alder, p. 166. The maple, p. 168. The locust, p. 173. The three-thorned acacia, p. 177. The Judas tree, p. 179. The chestnut, p. 180. The Osage orange, p. 185. The mul- berry, p. 188. The paper-mulberry, p. 190. The svi^eet gum, p. 192, The walnut, p. 194. The hickory, p. 198. The mountain ash, p. 202. The ailantus, p, 206. The Kentucky coffee, p. 208. The willow, p. 211. The sassafras, p. 217. The catalpa, p. 218. The persimmon, p, 220. The peperidge, p. 222. The thorn, p, 224, The magnolia, p, 226. The tulip-tree, p. 231, The dogwood, p. 234. The ginko, p. 237. The American cypress, p. 239. The larch, p. 244. The Virgilia, p, 251, The Paulownia, p. 253,
SECTION V.
EVERGREEN ORNAMENTAL TREES,
The history and description of all the finest hardy evergreen trees. Remarks on their effects in Landscape Gardening, individually and in composiiion. Their cultivation, etc. The pines, p, 255, The firs, p, 264. The cedar of Lebanon, and Deodar cedar, p. 270. The red cedar, p. 274. The arbor vitae, p. 276. The holly, p. 279. The yew, p. 281.
SECTION VL
VINES AND CLIMBING PLANTS.
Value of this kind of vegetation ;— fine natural effects, p. 286. The European ivy, p. 287. The Virginia creeper, p, 290, The wild grape-
CONTENTS Xlll
vine, p. 291. The bittersweet, — the trumpet creeper, p. 292. The pipe vine, p. 292. The clematis, — the wistaria, p. 293.||iThe honeysuckles and woodbines, p. 294. The climbing roses, p. 296. Tne jasmine and periploca, p. 297. Remarks on the proper mode of introducing vines, p. 298. Beautiful effects of climbing plants in connection with buildings, p. 299.
SECTION VII.
TREATMENT OF GROUND. — FORMATION OF WALKS.
Nature of operations on ground, p. 300. Treatment[;of flowing and of irregular surfaces to heighten their expression, p. 301, — of flats or level surfaces, p. 306. Rocks, as materials in landscape, p. 307. Laying out roads and walks : the approach, p. 309. Rules by Repton, p. 312. The drive and minor walks, p. 314. The introduction of fences, p. 315. Verdant hedges, p. 316.
SECTION VIII.
TREATMENT OF WATER.
Beautiful effects of this element in nature, p. 319. In what cases it is desirable to attempt the formation of artificial pieces of water, p. 820. Re- gular forms unpleasing, p. 321. Directions for the formation of ponds or lakes in the irregular manner, p. 323. Study of natural lakes, 324. Is- lands, p. 330. Planting the margin, p. 332. Treatment of natural brooks and rivulets, p. 334. Cascades and water-falls, 33.5. Legitimate sphere of the art in this department, p. 338.
SECTION IX.
LANDSCAPE OR RURAL ARCHITECTURE.
Difference between a city and country house, p. 340. The character- istic features of a country house, p. 341. Examination of the leading principles in Rural Architecture, p. 343. The harmonious union of build- ings and scenery, p. 348. The different styles, p. 351. The Grecian style, its merits and associations, p. 352 ; — its defects for domestic pur- poses, p. 353. The Roman style. The Italian style, p. 3.56 ; — its pecu- liar features, and examples in this country, p. 358. Associations of the Italian style, 360. Swiss style, p. 362. The pointed or Gothic style, — leading features, p. 364. Castellated buildings, p. 367. The Tudor
XIV CONTENTS
mansion, p. 368. Example here, p. 370. The Elizabethan style, p. 371. The old English cottage,— its features, p. 372. Associations of the pointed style, p. 375. Examples in this country, p. 379. Individual tastes, p. 381. Entrance lodges, p. 382.
SECTION X.
EMBELLISHMENTS ; ARCHITECTURAL, RUSTIC, AND FLORAL.
Value of a proper connection between the house and grounds, p. 388. Beauty of the architectural terrace, and its application to villas and cot- tages, p. 389. Use of vases of different descriptions, p. 392. Sundials, p. 396. Architectural flower-garden, p. 397. Irregular flower-garden, p. 398. French flower-garden, p. 399. English flower-garden, p. 400. Mino-led flower-garden, p. 406. General remarks on this subject, p. 407. Selection of showy plants, flowering in succession, p. 407. Arrangement of the shrubbery, and selection of choice shrubs, p. 411. The conserva- tory and green-house, p. 418. Open and covered seats, p. 423. Pavi- lions, p. 425. Rustic seats, p. 425. Prospect towers, p. 428. Bridges, p. 430. Rockwork, p. 431. Fountains of various descriptions, p. 435. judicious introduction of decorations, p. 441.
APPENDIX.
I. Notes on transplanting trees, p. 442. Reasons for frequent failures in removing large trees, p. 442. Directions for performing this operation, p. 445. Selection of subjects, p. 446. Preparing trees for removal, p. 447. Transplanting evergreens, p. 450.
II. Description of an English suburban residence, Cheshunt Cottage, p. 451. With views and plans showing the arrangement of the house and grounds, p. 452. And mode of managing the whole premises, p. 457.
III. Note on the treatment of Lawns, p. 490.
IV. Note on professional quackery, p. 493.
V. Note on roads and walks, p. 495.
ESSAY ON LANDSCAPE GARDENING.
SECTION I.
HISTORICAL SKETCHES.
Objects of the Art. The ancient and modern styles. Their peculiarities. Sketch of the ancient style, and the rise and progress of the modern style. Influence of the English poets and writers. Examples of the art abroad. Landscape Gardening in North America, and examples now existing.
" L'un a nos yeux presento D'un dessein regulierrordonnance imposante, Prete aux champs des beautes qu'ils ne connaissaient pas, D'une pompe etrangere embellit leur appas, Donne aux arbres deslois, aux ondes des entraves, Et, despote orgueilleux, brille entoure d'esclaves ; Son air est moins riant et plus majestueux, Uautre, de la nature amant respectueux, L'orne sans la farder, traite avec indulgence Ses caprices charraants, sa noble negligence, Sa marche irreguliere, et fait naitre avec art Des beautes du desordre, et meme du hasard."
Delille.
U R first, most endearing, and
most sacred • associations," says the amiable Mrs. Hofland. " are connected with gardens ; our most simple and most
2
Library N. C. State College
10 LANDSCAPE GARDENING.
refined perceptions of beanty are combined with them." And we may add to this, that Landscape Gardening, which is an artistical combination of the beautiful in nature and art—an union of natural expression and harmonious culti- vation— is capable of affording us the highest and most in- tellectual enjoyment to be found in any cares or pleasures belonging to the soil.
The development of the Beautiful is the end and aim of Landscape Gardening, as it is of all other fine arts. The ancients sought to attain this by a studied and elegant regularity of design in their gardens ; the moderns, by the creation or improvement of grounds which, though of limit- ed extent, exhibit a highly graceful or picturesque epitome of natural beauty. Landscape Gardening differs from gar- dening in its common sense, in embracing the whole scene immediately about a country house, which it softens and refines, or renders more spirited and striking by the aid of art. In it we seek to embody our ideal of a rural home ; not through plots of fruit trees, and beds of choice flowers, though these have their place, but by collecting and combi- ning beautiful forms in trees, surfaces of ground, buildings, and walks, in the landscape surrounding us. It is, in short, the Beautiful, embodied in a home scene. And we attain it by the removal or concealment of every thing uncouth and discordant, and by the introduction and preservation of forms pleasing in their expression, their outlines, and their fitness for the abode of man. In the orchard, we hope to gratify the palate, in the flower garden, the eye and the smell, but in the landscape garden we appeal to that sense of the Beautiful and the Perfect,, which is one of the high- est attributes of om- nature.
This embellishment of nature, which we call Landscape
HISTORICAL NOTICES. 11
Gardening, springs naturally from a love of country life, an attachment to a certain spot, and a desire to render that place attractive — a feeling which seems more or less strongly fixed in the minds of all men. But we should convey a false impression, were we to state that it may be applied with equal success to residences of every class and size, in the country. Lawn and trees, being its two essen- tial elements, some of the beauties of Landscape Gardening may, indeed, be shown wherever a rood of grass surface, and half a dozen trees are within our reach ; we may, even with such scanty space, have tasteful grouping, varied surface, and agreeably curved walks ; but our art, to appear to ad- vantage, requires some extent of surface — its lines should lose themselves indefinitely, and unite agreeably and gra- dually with those of the surrounding country.
In the case of large landed estates, its capabilities may be displayed to their full extent, as from fifty to five hun- dred acres may be devoted to a park or pleasure grounds. Most of its beauty, and all its charms, may, however, be enjoyed in ten or twenty acres, fortunately situated, and well treated ; and Landscape Gardening, in America, com- bined and working in harmony as it is with our fine scenery, is already beginning to give us results scarcely less beautiful than those produced by its finest efibrts abroad. The lovely villa residences of our noble river and lake margins, when well treated — even in a few acres of tasteful fore-ground, — seem so entirely to appropriate the whole adjacent landscape, and to mingle so sweetly in their out- hnes with the woods, the valleys, and shores around them, that the effects are often truly enchanting.
But if Landscape Gardening, in its proper sense, cannot be applied to the embellishment of the smallest cottage
12 LANDSCAPE GARDENING.
residences in the country, its principles may be studied with advantage, even by him who has only three trees to plant for ornament ; and we hope no one will think his grounds too small, to feel willing to add something to the gene- ral amount of beauty in the country. If the possessor of the cottage acre, would embellish in accordance with propriety, he must not, as we have sometimes seen, render the whole ridiculous by aiming at ambitious and costly embellish- ments ; but he will rather seek to delight us by the good taste evinced in the tasteful simplicity of the whole arrange- ment. And if the proprietors of our country villas, in their improvements, are more likely to run into any one error than another, we fear it will be that of too great a desire for dis- play— too many vases, temples, and seats — and too little purity and simplicity of general effect.
The enquiring reader will perhaps be glad to have a glance at the history and progress of the art of tasteful gar- dening ; a recurrence to which, as well as to the history of the fine arts, will afford abundant proof that, in the first stage or infancy of all these arts, while the perception of their ultimate capabilities is yet crude and imperfect, mankind has in every instance been completely satisfied with the mere exhibition of design or art. Thus in Sculpture, the first statues were only attempts to imitate rudely the /orm of a human figure, or in painting, to represent that of a tree : the skill of the artist, in effecting an imitation successfully, being sufficient to excite the astonishment and admiration of those who had not yet made such advances as to enable them to appreciate the superior beauty of expression.
Landscape Gardening is, indeed, only a modern word, first coined, we believe, by Shenstone, since the art has been based upon natural beauty ; but as an extensively
HISTORICAL NOTICES. 13
embellished scene, filled with rare trees, fountains and statues, may, however artificial, be termed a landscape gar- den, the classical gardens are fairly included in a retrospec- tive view.
All late authors agree in these two distinct and widely diiFering modes of the art ; 1st, the Ancient, Formal or Geometric Style ; 2d, the Modern, Natural or Irregular Style.
The Ancient Style. A predominance of regular forms and right lines is the charateristic feature of the ancient style of gardening. The value of art, of power, and of wealth, were at once easily and strongly shown by an artifi- cial arrangement of all the materials ; an arrangement the more striking, as it differed most widely from nature. And in an age when costly and stately architecture was most abundant, as in the times of the Roman empire, it is natural to suppose, that the symmetry and studied elegance of the palace, or the villa, would be transferred and continued in the surrounding gardens.
Nothing fills so grand a place in the history of the gar- dening of antiquity, as the great hanging gardens of Baby- lon. A series of terraces supported by stone pillars, rising one above the other three hundred feet in height, and planted with rows of all manner of stately trees, shrubs and flowers, interspersed with seats, and watered and supplied with fountains from the Euphrates ; all this was indeed a princely effort of the great king to recall to his Medean queen the beauties of her native country. The " Paradises" of the Persians, seem not only to have had straight walks bordered with blossoming trees, and overhung with exquisite lines of roses and other odoriferous shrubs, but to have been interspersed with occasional thickets, and varied with foun- tains, prospect towers, and aviaries for singing birds.
14 LANDSCAPE GARDENING.
The Athenians borrowed their taste in gardens from Persia. The hme tree and the box lined their walks, and bore patiently the shears of symmetry ; and a passion for fragrant flowers seems to have been greatly indulged by them. Their most celebrated philosophers made the sylvan, or landscape gardens of their time, their favourite schools. And the gardens of Epicurus and Plato appear to have been symmetrical groves of the olive, plane, and elm, enriched by elegant statues, moniunents and temples, the beauty of which, for their peculiar purpose, has never been surpassed by any example of more modern times. Among the Romans, ornamental gardening seems to have been not a little studied. The villas of the Emperors Nero and Adrian were enriched with every thing magnificent and pleasing in their gromids ; and the classically famous villas of Cicero at Arpium, and of Pliny at Thuseum, with Caesar's
" Private arbors, and new planted orchards. On tliis side Tiber,"
are among the most celebrated specimens of the taste among the ancients. Pliny's garden, of which a pretty minute account remains, — filled with cypresses and bay trees, planted to form a coursing place or hippodrome, adorned with vis-a-vis figures of animals cut in box trees, and decorated with fountains and marble alcoves, shaded by vines — seems, indeed, to have been the true classical type of all the later efforts of modern continental nations in their geometric gardens.
Of the latter, the Italians have been most successful in their ornamental gromids. Their beautiful marbles seem to have been supplied by Art in too great profusion to be
HISTORICAL NOTICES. 15
confined even to the colonnades of their villas, and broad enriched terraces, vases, and statues, every where enliven, and contrast with, the verdure of the foliage ; trees and plants being often less abundant, than the sculptural ornaments which they serve to set off to advantage. An island — Isola Bella — in one of their little lakes, has often been quoted as the most highly wrought type of the Italian taste ; "a barren rock," says a spirited writer, " rising in the midst of a lake, and producing but a few poor lichens, which has been converted into a pyramid of terraces supported on arches, and ornamented with bays and orange trees of amazing size and beauty." The Villa Borghese, at Rome, is one of the most celebrated later examples, with its pleasure grounds three miles in circumference, filled with symmetrical walks and abounding with an endless pro- fusion of sculpture.
The old French gardens differ little from those of Italy, if we except that, with the same formality, they have more of theatrical display— frequently substituting gilt trellises and wooden statues for the exquisite marble balustrades and sculptured ornaments of the Italians. But we must not forget the crowning glory of the Geometric style, the gardens of Louis XIV. at Versailles. A prince whose grand idea of a royal garden was not compassed under two hun- dred acres devoted to that purpose, and who, when shown the bills of cost in their formation, amounting to two hun- dred millions of francs, quietly threw them into the fire, could scarcely fail, whatever the style of art adopted, in producing a scene of great splendor. He was fortunate, too, in his gardener, Le Notre, whose ideas, scarcely less superb than those of his master, kept pace so closely with his fancies, that he received the honor of knighthood, and was
16 LANDSCAPE GARDENING.
made general director of all the buildings and gardens of the time.
" The gardens of Versailles," says a tasteful English reviewer, " may indeed be taken as the great exemplar of this style ; and magnificent indeed they are, if expense and extent and variety suffice to make up magnificence. To draw petty figures in dwarf-box and elaborate pat- terns in parti-colored sand, might well be dispensed with where the formal style was carried out on so grand a scale as this, but otherwise the designs of Le Notre differ little from that of his predecessors in the geometric style, save in their monstrous extent. The great wonder of Versailles was the well known labyrinth, not such a maze as is really the source of so much idle amusement at Hampton Court, but a mere ravel of interminable walks, closely fenced in with high hedges, in which thirty-nine of ^sop's fables were represented by painted copper figiues of birds and beasts, each group connected with a separate fountain, and all spouting water out of their mouths ! Every tree was planted with geometrical exactness, and parterre answered to parterre across half a mile of gravel. " Such symmetry," says Lord Byron, " is not for solitude ;" and certainly, the gardens of Versailles were not planted with any such in- tent. The Parisians do not throng there for the contempla- tion to be found in the " trim gardens" of Milton. There is indeed a melancholy, but not a pleasing one, in wander- ing alone, through, those many acres of formal hornbeam, when we feel that it requires the " galliard and clinquant" air of a scene of Watteau ; its crowds and love-making — its hoops and minuets — a ringing laugh and merry tambourine — to make us recognise the real genius of the place. Taking Versailles on the gigantic type of the French
HISTORICAL NOTICES. 17
school, it need scarcely be said that it embraces broad gravelled terraces, long alleys of yew and hornbeam, vast orangeries, groves planted in the quincunx style, and water-works embellished with, and conducted through every variety of sculptured ornament. It takes the middle line between the other two geometric schools — admitting more sculpture and other works of art than the Italian, but not overpowered with the same number of " huge masses of littleness" as the Dutch. There is more of promenade, ' less of parterre ; more gravel than turf ; more of the de- ciduous than the evergreen tree- The practical water-wit of drenching the spectators was in high vogue in the ancient French gardens ; and Evelyn, in his accoimt of the Duke of Richelieu's villa, describes with some relish how ' on going, two extravagant musketeers shot at us with a stream of water from their musket barrels.' Contri- vances for dousing the visitors — ' especially the ladies' — which once filled so large a space in the catalogue of every show place, seem to militate a little against the national character for gallantry ; but the very fact that every thing was done to surprise the spectator and stranger, evinces how different was their idea of a garden from the home and familiar pleasures which an Englishman looks to in his."
It is scarcely necessary for us to say, that this new splen- dor of the French in their gardens was more or less copied, at the time, all over Europe. " Ainsi font les Frangais — voild ce qiiefai vuen France,^^ was the law of fashion in the gardening taste from which there was no higher court of appeal. But, in copying, every nation seems to have min- gled with the " grand style" some elementary notions of its own, expressive of national character or locality. The most marked of these imitators were the Dutch, whose
3
18 LANDSCAPE GARDENING.
Style of ornamental gardening seems sufficiently unique to be worthy of being considered a separate school.
And how shall we characterize the Dutch school, which even to this day^ in the Low Countries, has scarcely given way to the continental admiration for the ^^jardin Anglais ;" this double distilled compound of laboured symmetry, regu- larity, and stiifness which seems to convey to the quiet own- ers so much pleasure, and the tasteful traveller and critic so much despair ! A stagnant and muddy canal, with a bridge thrown over it, and often connected with a circular fish- pond ; a grass slope and a mound of green turf ; on which is a pleasure or banqueting house with gilt ornaments ; num- berless clipped trees, and every variety of trellis work lively with green paint ; in the foreground beds of gay bulbs and florist's flowers, interspersed with huge orange trees in tubs, and in the distance smooth green meadows — such are the unvarying features of the Hollander's garden or grounds.* The true Dutchman looks upon his garden as a quiet jilace to smoke and be " content" in ; if he lazily saunters through, it is rather to enjoy the gay pencillings of some new bed of tulips than to enjoy the elegance and harmony of its design, the variety of scenery, or the freshness and beauty of the foliage. At the same time, he is neither exclusive nor secret with the stores of enjoyment which he has within its bounds ; and very many of the private villas near Rotterdam, and in other parts of Holland, have mottoes like these inscribed over the gateways—" Tranquil and Content," '• My desire is satisfied" — {genegentheiel is volde?i,) — " Friendship and sociability," and numerous others of a similar import.
* In the neighborhood of Antwerp, not a long time since, was the villa of M. Smetz, where, among many things that were pretty, was the odd conceitof a lawn on which were a shepherd, his flock of sheep, and his dog cut in stone, and always looking " pastoral and country like."
HISTORICAL NOTICES, 19
The ornamental gardening of England in the early ages, and during the reigns of Elizabeth, James, and Charles, was in the same courtly and formal taste. Always fonder than any other people of great landed estates, their parks, even in the days of the Henrys, were grand wooded sur- faces, full of wild sylvan beauty ; but that part considered the ornamental groimds, near the house, was always laid out in right lined avenues, labyrinths, parterres, and knot- ted gardens. " Nonsuch," a royal residence, was the gar- dening wonder of the reign of Henry the VHI. ; and the chroniclers have left enthusiastic notes of its various charms. Keutzner, in his account of these gardens, says, " in the grove of Diana is a very agreeable fountain, with Acteon turned into a stag, as he was sprinkled by the goddess and her nymphs, with inscriptions ; besides another pyramid of marble, full of concealed pipes, which spirt on all who come within their reach."
Charles II. startled, like the rest of Europe, with the fame of Versailles, sent for Le Notre, who, it is said, plant- ed St. James and Greenwich parks, and inspired the nobility with a taste for some of the more splendid formalities of the French school of design.
Vegetable sculpture, and all the accompaniments of Dutch taste were introduced with King William, and had their hey- day of fashion ; and we may get a good notion of the subjects most in vogue, by an extract from Pope's keen satire on the popular taste, written as late as 1713, when it was be- gimiing to get into disrepute.
Inventory of a Virtuoso Gardener. Adam and Eve in yew ; Adam, a little shattered by the fall of the tree of knowledge in the great storm ; Eve and the serpent, very flourishing. Noah's ark in Holly ; the ribs a little damaged for want of water,
20 LANDSCAPE GARDENING.
The tower of Babel, not yet finished.
St. George, in box ; his arm scarce long enough, but will be in a condition to stick the dragon by next April.
Edward the Black Prince, in cypress.
A pair of giants stunted, to be sold cheap.
An old maid of honor, in wormwood.
A topping Ben Jonson, in laurel.
Divers eminent modern poets, in bays ; somewhat blighted.
A quick set hog, shot up into a porcupine, by being for- got a week in rainy weather.
A lavender pig, with sage growing in his belly.
Whatever may have been the absurdities of the ancient style, it is not to be denied that in connection with highly decorated architecture, its effect, when in the best taste — as the Italian — is not only splendid and striking, but highly suitable and appropriate. Sir Walter Scott, in an essay on landscape embellisment, says, " if we approve of Palla- dian architecture, the vases and balustrades of Vitruvius, the enriched entablatures and superb stairs of the Italian school of gardening, we must not, on this accoimt, be con- strued as vindicating the paltry imitations of the Dutch, who clipped yews into monsters of every species, and re- lieved them with painted wooden figures. The distinction betwixt the Italian and Dutch is obvious. A stone hewn into a gracefully ornamented vase or urn, has a value which it did not before possess ; a yew hedge clipped into a fortification, is only defaced. The one is a production of art, the other a distortion of nature."
The Modern Style. Dawn to the time of Addison, in the begiiming of the eighteenth century, the formal style reigned triumphant. The gardener, the architect, and the sculptor — all lovers of regularity and symmetry, had re- tained complete mastery of its arrangements. And it is
HISTORICAL NOTICES. 21
worthy of more than a passing remark, that when the change in taste did take place, it emanated from the poet, the painter, and the tasteful scholar, rather than from the practical man. In the poetical imagination, indeed, the ideal type of a modern landscape garden seems always to have been more or less shadowed forth. The Vaucluse of Petrarch, Tasso's garden of Armida, the vale of Tempe of iElian, were all exquisite conceptions of the modern style. And Milton, surrounded as he was by the splendid formali- ties of the gardens of his time, copied from no existing models, but feeling that Eden must have been free and ma- jestic in its outlines, he drew from his inner sense of the beautiful, and from nature as he saw her developed in the works of the Creator. There, the crisped brooks, —
" With mazy error under pendant shades Ran nectar, visiting each plant, and fed 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 smote The open field, and where the unpierced shade Imbrown'd the noontide bowers ; thus was this place Ahappy rural seat of various view."
But it required more than poetical types to change the long rooted fashion. The lever of satire needed to be ap- plied, and the golden links that bind Nature and Art more clearly revealed, before the old system could be made to waver. Lord Bacon, who looked deeper into the essence of all things than most men of his age, was one of the first to feel uneasy under the dominion of the formal taste ; and, in his essay on gardens, full of a stately and noble plan, he ventured, in the reign of James I. a tilt at the popular taste.
22 LANDSCAPE GARDENING.
" As for the making of knots or figures with divers colored earths, that they may lie mider the windows of the house, they be but toys ; you may see as good sights many times in tarts. I, for my part, do not like images cut out in juniper or other garden stuff ; they are for children."
Without a doubt, however, the glory and merit of the gardening revolution belong mainly to Addison and Pope. In 1712 appeared Addison's papers on Imagination, con- sidered with reference to the works of Nature and Art. With a delicate and masterly hand, at a time when he pos- sessed, through the " Spectator," the ear of all refined and tasteful England, he lifted the veil between the garden and natural charms, and showed how beautiful were their rela- tions— how soon the imagination wearies with the stifihess of the former, and how much grace may be caught from a free-er imitation of the swelling wood and hill.
The next year Pope, who was both a poet and painter, opened his quiver of satire in the celebrated article on ver- dant sculpture m the Guardian, where he ridiculed with no sparing hand the sheared alleys, formal groves, and
" Statues growing that noble place in, All heathen goddesses most rare, JHomer, Plutarch, and Nebuchadnezzar, Standing naked in the open air !"
Pope was a refined and skilful amateur, and his garden at Twickenham became a celebrated miniature type of the natural school. In his Epistle to Lord Burlington, he de- veloped somid principles for the new art ; — the study of nature ; the genius of the place ; and never to lose sight of good sense ; the latter a rule which the whimsical follies
HISTORICAL NOTICES. 23
of that day in gardening, seemed, doubtless, to render espe- cially necessary, but which the discordant abortions of am- bitious, would-be men of taste, prove is one soonest violated in every succeeding age.
The change in the popular feeling thus created, soon gave rise to innovations in the practical art. Bridgeman, the fashionable garden artist of the time, struck, as Horace Walpole thinks, by Pope's criticisms, banished verdant sculptiue from his plans, and introduced bits of forest scene- ry in the gardens at Richmond. And Loudon and Wise, the two noted nurserymen of the day, laid out Kensington gardens anew in a manner so much more natural as to elicit the warm commendations of Addison in the Specta- tor. It is not too much to say that Kent was the leader of this class. Originally a painter, and the friend of Lord Burlington, he next devoted himself to the subject, and was, undoubtedly, the first professional landscape gardener in the modern style. Previous artists had confined their efforts within the rigid walls of the garden, but Kent, who saw in all nature a garden-landscape, demolished the walls, introduced the ha-ha^ and by blending the park and the garden, substituted for the primness of the old enclosure, the freedom of the pleasiire-groimd. His taste seems to have been partly formed by Pope, and the Twickenham garden was the prototype of those of Carlton House, Kent's chefd'oeuvre. And, notwithstanding his faults, "his tem- ples, obelisks, and gazabos of every description in the park, all stuck about in their respective high places," notwith- standing that his passion for natural effects led him into the absurdity of sometimes planting an old dead tree to make the allusion more perfect, we have no hesitation in ac- cording to Kent the merit of first fully establishing, in
24 LANDSCAPE GARDENING.
practice, the reform in taste which Addison and Pope had so completely developed in theory.
Among the landmarks of the progress of the taste, we must not refuse a passing notice of what seems to have been an unique and beautiful specimen of the new feeling for em- bellished nature — Leasowes, the "sentimental farm" of Shen- stone. From contemporary accounts, it appears to have been originally a grazing farm, from which, by tasteful arrangement and planting, and pretty walks, seats, root- house, urns, and appropriate inscriptions, the poet created a scene of much pastoral and poetical beauty.
The modern style, was now running high in popular favour in England, but the next professor of the art. Brown, seems to have been a mannerist with so little true sym- pathy with nature, as to be made the jest of every succeed- ing generation- — great and fashionable, as the fortune he amassed, and the long list of royal and noble places which he remodelled, sufficiently prove him to have been in his day. " Capability" Brown, as he was nicknamed, saw in every new place great capabilities, but unfortunately his own mind seems to have furnished but one model — a round lake, a smooth bare lawn, a clump of trees and a boundary belt — which he expanded, with few variations, to suit the compass of an estate of a thousand acres, or a cottage with a few roods. His works were often on a grand scale, and he boasted that the Thames would never forgive him for the rival he had created in the artificial lake at Blenheim. " The places he altered," says Loudon, " are beyond all reckoning. Improvement was the fashion of the time ; and there was scarcely a country gentleman who did not, on some occasion or other, consult the gardening idol of the day." Mason, the poet, praises this artist, and Horace Walpole apolo-
Library N, C. State CoUeoe
HISTORICAL NOTICES. 25
gizes for not praising him." Daines Barrington says, "Kent hath been succeeded by Brown, who hath undoubtedly, great merit in laying out pleasure grounds ; but I conceive, that, in some of his plans, I see traces rather of the kitchen gardener of old Stowe, than of Poussin, or Claude Lorraine."
This mannerism gave rise finally, to the celebrated work On the Picturesque by Sir Uvedale Price, who, in a series of elegant and masterly essays, pointed out the faults and follies of this Brown and his imitators, analyzed the beautiful and picturesque in nature and art, and founded a new school, more spirited and free in its aim, deriving its principles directly from nature and painting. These, with Knight's elegant Poem, the Landscape, the English Garden by Mason, and Whately's Observations on Modern Garden- ing, all published between 1750 and the beginning of the year 1800, established the new style firmly in the public mind. On the Continent, especially in France, though the old fashioned gardens were not demolishedj as in England, new ones were laid out in accordance with the dawning taste, and none of the antique establishments were thought perfect without a spot set apart as a jardin Anglais.
It is not a little remarkable that the Chinese taste in gar- dening, which was first made known to the English public about this time, is by far the nearest previous approach to the modern style. Some critics, indeed, have asserted that the English are indebted to it for their ideas of the modern style. However this may be, and we confess it has very little weight with us, the harmonious system which the taste of the English has evolved in the modern style, is at the present day, too far beyond the Chinese manner to admit of any comparison. The first is imbued with beauty of the most graceful and agreeable character, based upon nature,
4
26 LANDSCAPE GARDENING.
and refined by art ; while the latter abounds in puerilities and whimsical conceits — rocky hills, five feet high— minia- ture bridges — dwarf oaks, a hundred years old and twenty inches in altitude — which, whatever may be our admiration for the curious ingenuity and skill tasked in their produc- tion, leave on our mind, no very favourable impression of the taste which designed them.
The most distinguished English Landscape Gardeners of more recent date, are the late Humphrey Repton, who died in 1818 ; and since him John Claudius Loudon, better known in this country, as the celebrated gardening author. Repton's taste in Landscape gardening was cultivated and elegant, and many of the finest parks and pleasure grounds of England, at the present day, bear witness to the skill and harmony of his designs. His published works are full of instructive hints, and at Cobham Hall, one of the finest seats in Britain, is an inscription to his memory, by Lord Darnley.
Mr. Loudon's* writings and labours in tasteful gardening, are too well known, to render it necessary that we should do more than allude to them here. Much of what is known of the art in this country undoubtedly is, more or less directly to be referred to the influence of his published works. Al- though he is, as it seems to us, somewhat deficient as an artist, in imagination, no previous author ever deduced, so clearly, sound artistical principles in Landscape Gardening, and Rural Architecture ; and fitness, good sense, and beauty, are combined with a remarkable unity of feeling in all his works.
* While we are revising this edition, we regret deeply to learn the death of Mr. Loudon. His herculean labours as an author, have at last destroyed him ; and in his death we lose one who has done more than any other person that ever lived to popularise, and render universal, a taste for Gardening and Domestic Architecture.
HISTORICAL NOTICES. 27
As the modern style owes its origin mainly to the English, so it has also been developed and carried to its greatest per- fection in the British Islands. The law of primogeniture, which has there so long existed, in itself, contributes greatly to the continual improvement and embellishment of those vast landed estates, that remain perpetually in the hands of the same family. Magnificent buildings, added to by each succeeding generation, who often preserve also the older portions with the most scrupulous care ; wide spread parks, clothed with a thick velvet turf, which amid their moist atmosphere, preserves during great part of the year an eme- rald greenness — studded with noble oaks and other forest trees which number centuries of growth and maturity ; these advantages, in the hands of the most intelligent and the wealthiest aristocracy in the world, have indeed made, almost, an entire landscape garden of " merry England." Among a multitude of splendid examples of these noble resi- dences, we will only refer the reader to the celebrated Blenheim, the seat of the Duke of Marlborough, where the lake alone (probably the largest piece of artificial water in the world) covers a surface of two hundred acres : Warwick Castle, a venerable pile, portions of which have been built a thousand years, standing on a hill from whence the eye, though rangmg over a wide-spread landscape, only beholds the park and wooded demesne of one proprietor : and Woburn Abbey, the grounds of which are full of the choicest speci- mens of trees and plants, and where the park, like that of Ashbridge, Chatsworth, and several other private residences in England, is only embraced within a circumference of from ten, to twenty miles.
On the continent of Europe, though there are a multitude of examples of the modern style of landscape gardening,
28 LANDSCAPE GARDENING.
which is there called the English or naUiral style, yet in the neighborhood of many of the capitals, especially those of the south of Europe, the taste for the geometric or ancient style of gardening still prevails to a considerable extent ; partially no doubt because that style admits, with more facility, of those classical and architectural acompaniments of vases, statues, busts, etc., the passion for which per- vades a people rich in ancient and modern sculptural works of art. Indeed many of the gardens on the continent are more striking from their numerous sculpturesque orna- ments, interspersed with fountains and jets-d'eau, than from the beauty or rarity of their vegetation, or from their ar- rangement.
In the United States, it is highly improbable that we shall ever witness such splendid examples of landscape gardens as those abroad, to which we have alluded. Here the rights of man are held to be equal ; and if there are no enormous parks, and no class of men whose wealth is hereditary, there is, at least, what is more gratifying to the feelings of the philanthropist, the almost entire absence of a very poor class in the country ; while Ave have, on the other hand, a large class of independent landholders, who are able to assemble around them, not only the useful and convenient, but the agreeable and beautiful, in country life.
The number of individuals among us who possess wealth and refinement SLifficient to enable them to enjoy the plea- sures of a country life, and who desire in their private resi- dences so much of the beauties of landscape gardening and rural embellishment as may be had without any enor- mous expenditure of means, is every day increasing. And although, until lately, a very meagre plan of laying out the grounds of a residence, was all that we could lay claim
HISTORICAL NOTICES. 29
to, yet the taste for elegant rural improvements is advancing now so rapidly, that we have no hesitation in predicting that in half a century more, there will exist a greater number of beautiful villas and country seats of moderate extent, in the Atlantic States, than in any country in Europe, England alone excepted. With us, a feeling, a taste, or an improve- ment, is contagious ; and once fairly appreciated and esta- blished in one portion of the country, it is disseminated with a celerity that is indeed wonderful, to every other portion. And though, it is necessarily the case where amateurs of any art are more numerous than its professors, that there will be, in devising and carrying plans into execution, many specimens of bad taste, and perhaps a sufficient number of efforts to improve without any real taste whatever, still we are convinced the effect of our rural embellishments will in the end be highly agreeable, as a false taste is not likely to be a permanent one in a community where every thing is so much the subject of criticism.
With regard to the literature and practice of Landscape Gardening as an art, in North America, almost every thing is yet before us, comparatively little having yet been done. Almost all the improvements in the gromids of our finest country residences, have been carried on under the direction of the proprietors themselves, suggested by their own good taste, in many instances improved by the study of European authors, or by a personal inspection of the finest places abroad. The only American work previously published which treats directly of Landscape Gardening, is the A7ne7-i- can Garderiefs Calendar, by Bernard McMahon of Phila- delphia. The only practitioner of the art, of any note, was the late M. Parmentier of Brooklyn, Long Island.
M. Andre Parmentier was the brother of that celebrated
30 LANDSCAPE GARDENING.
horticulturist, the ChevaUer Parmentier, Mayor of Enghien, Holland. He emigrated to this country about the year 1824, and in the Horticultural Nurseries which he esta- blished at Brooklyn, he gave a specimen of the natural style of laying out grounds, combined with a scientific arrange- ment of plants, which excited public curiosity, and contri- buted not a little, to the dissemination of a taste for the na- tural mode of landscape gardening.
During M. Parmentier's residence on Long Island, he was almost constantly applied to for plans for laying out the grounds of country seats, by persons in various parts of the Union, as well as in the immediate proximity of New- York. In many cases he not only surveyed the demesne to be im- proved, but furnished the plants and trees necessary to carry out his designs. Several plans were prepared by him for re- sidences of note in the Southern States ; and two or three places in Upper Canada, especially near Montreal, were, we believe, laid out by his own hands and stocked from his nursery grounds. In his periodical catalogue, he arranged the hardy trees and shrubs that fiomish in this latitude in classes, according to their height, etc., and published a short treatise on the superior claims of the natural, over the formal or geometric style of laying out gromids. In short Ave con- sider M. Parmentier's labours and example as having efiected, directly, far more for landscape gardening in America, than those of any other individual whatever.
The introduction of tasteful gardening in this country is, of course, of a very recent date. But so long ago as from 25 to 50 years, there were several country residences highly remarkable for extent, elegance of arrangement, and the highest order and keeping. Among these, we desire espe- cially, to record here the celebrated seats of Chancellor Liv-
HISTORICAL NOTICES. 31
mgston,,Wm. Hamilton Esq., Theodore Lyman Esq., and Judge Peters.
Woodlands, the seat of the Hamilton family, near Phila- delphia, was, so long ago as 1805, highly celebrated for its gardening beauties. The refined taste and the wealth of its accomplished owner, were freely lavished in its improvement and embellishment ; and at a time when the introduction of rare exotics was attended with a vast deal of risk and trouble, the extensive green-houses and orangeries of this seat, con- tained all the richest treasures of the exotic flora, and among other excellent gardeners employed, was the distin- guished botanist Pursh, whose enthusiastic taste in his favorite science was promoted and aided by Mr. Hamilton. The extensive pleasure grounds were judiciously planted singly and in groups, with a great variety of the finest species of trees. The attention of the visitor to this place is now arrest- ed by two very large specimens of that curious tree, the Japanese Ginko, {Salishiii^ia) 60 or 70 feet high, perhaps the finest in Europe or America, by the noble magnolias, and the rich park-like appearance of some of the plantations of the finest native and foreign oaks. From the recent unhealthiness of this portion of the Schuylkill, Woodlands has fallen into decay, but there can be no question that it was, for a long time, the most tasteful and beautiful residence in America.
The seat of the late Judge Peters, about five miles from Philadelphia, was, 30 years ago, a noted specimen of the ancient school of landscape gardening. Its proprietor had a most extended reputation as a scientific agricul- turist, and his place was also no less remarkable for the design and culture of its pleasure-grounds, than for the excellence of its farm. Long and stately avenues, with
32 LANDSCAPE GARDENING.
vistas terminated by obelisks, a garden adorned with marble vases, busts and statues, and pleasure grounds filled with the rarest trees and shrubs, were conspicuous features here. Some of the latter are now so remarkable as to attract strongly the attention of the visitor. Among them, is the chestnut planted by Washington, which produces the largest and finest fruit ; very large hollies ; and a curious old box tree much higher than the mansion near which it stands. But the most striking feature now, is the still remaining' grand old avenue of hemlocks, {Abies canaden- sis.) Many of these trees, which were planted 100 years ago, are now venerable specimens, ninety feet high, whose huge trunks and wide spread branches, are in many cases densely wreathed and draped with masses of English Ivy, forming the most picturesque, sylvan objects we ever be- held.
Lemon Hill, half a mile above the Fairmount water- works of Philadelphia, was, 20 years ago, the most perfect specimen of the geometric mode in America, and since its destruction by the extension of the city, a few years since? there is nothing comparable with it, in that style, among us. All the symmetry, uniformity, and high art of the old school, were displayed here in artificial plantations, formal gardens with trellises, grottoes, spring-houses, temples,- statues and vases, with numerous ponds of water, jets-d'eau and other waterworks, parterres and an extensive range of hothouses. The eifect of this garden was brilliant and striking, its position, on the lovely banks of the Schuylkill, admirable, and its liberal proprietor Mr. Pratt, by opening it freely to the public, greatly increased the popular taste in the neighbourhood of that city.
On the Hudson, the show place of the last age was the
HISTORICAL NOTICES. 33
Still interesting Clermont, then the residence of Chancellor Livingston. Its level or gently undulating lawn, four or five miles in length, the rich native woods, and the long vistas of planted avenues, added to its fine water view, ren- dered this a noble place. The mansion, the green-houses, and the gardens, show something of the French taste in design, which Mr. Livingston's residence abroad, at the time when that mode was popular, no doubt, led him to adopt. The finest yellow locusts in America are now standing in the pleasure-grounds here, and the gardens contain many specimens of fruit trees, the first of their sorts introduced into the Union,
Waltham House, about nine miles from Boston, was, 25 years ago, one of the oldest and finest places, as regards Landscape Gardening. Its owner, the late Hon. T. Lyman, was a highly accomplished man, and thp grounds at Wal- tham House bear witness to a refined and elegant taste in rural improvement. A fine level park, a mile in length, en- riched with groups of English limes, elms and oaks, and rich masses of native wood, watered by a fine stream and stocked with deer, were the leading features of the place at that time; and this, and Woodlands, were the two best specimens of the modern style, as Judge Peters' seat. Lemon Hill, and Clermont, were of the ancient style, in the earliest period of the history of Landscape Gardening among us.
There is no part of the Union where the taste in Land- scape Gardening is so far advanced, as on the middle portion of the Hudson. The natural scenery is of the finest cha- racter, and places but a mile or two apart often possess, from the constantly varying forms of the water, shores, and dis- tant hills, widely diiferent kinds of home landscape and distant view. Standing in the grounds of some of the
5
34 LANDSCAPE GARDENING.
finest of these seats, the eye beholds only the soft foreground of smooth lawn, the rich groups of trees shutting out all neighbouring tracts, the lake-like expanse of water, and, closing the distance., a fine range of wooded mountain. A residence here of but a hundred acres, so fortunately are these disposed by nature, seems to appropriate the whole scenery around, and to be a thousand in extent.
At the present time, our handsome villa residences are becoming every day more numerous, and it would require much more space than our present limits, to eraunerate all the tasteful rural country places within our knowledge, many of which have been newly laid out, or greatly im- proved within a few years. But we consider it so im- portant and instructive to the novice in the art of Landscape Gardening to examine, personally, country seats of a highly tasteful character, that we shall venture to refer the reader to a few of those which have now a reputation among us as elegant country residences.
Hyde Park, on the Hudson, formerly the seat of the late Dr. Hosack, now of W. Langdon, Esq., has been justly celebrated as one of the finest specimens of the modern style of Landscape Gardening in America. Nature has, indeed, done much for this place, as the grounds are finely varied, beautifully watered by a lively stream, and the views are inexpressibly striking from the neighbourhood of the house itself, including, as they do, the noble Hudson for sixty miles in its course, through rich valleys and bold mountains. (See Fig. 1.) But the efforts of art are not unworthy so rare a locality ; and while the native woods, and beautifully undulating surface, are preserved in their original state, the pleasure-grounds, roads, walks, drives, and new plantations, have been laid out in such a judicious
I' ig. 1. View in the Grounds at Hyde Park
Fig. 2. TLie I.IaL.or of Livingston.
HISTORICAL NOTICES. 35
manner as to heighten the charms of nature. Large and costly hot-houses were erected by Dr. Hosack, with also entrance lodges at two points on the estate, a fine bridge over the stream, and niunerous pavilions and seats commanding extensive prospects ; in short, nothing was spared to render this a complete residence. The park, which at one time contained some fine deer, afforded a delightful drive within itself, as the whole estate numbered about seven hmidred acres. The plans for laying out the grounds were fur- nished by Parmentier, and architects from New- York were employed in designing and erecting the buildings. For a long time, this was the finest seat in America, but there are now many rivals to this claim.
The Manor of Livingston, the seat of Mrs. Mary Liv- ingston, is seven miles east of the city of Hudson. The mansion stands in the midst of a fine park, rising gradually from the level of a rich inland country, and commanding prospects for sixty miles around. This park is, perhaps, the most remarkable in America, for the noble simplicity of its character, and the perfect order in which it is kept. The turf is, every-where, short and velvet-like, the gravel- roads scrupuloushr firm and smooth, and near the house are the largest and most superb evergreens. The mansion is one of the chastest specimens of the Grecian style, and there is an air of great dignity and grace about the whole demesne. (Fig. 2.)
Blithewood, the seat of R. Donaldson, Esq., near Barry- town on the Hudson, is one of the most charming villa resi- dences in the Union. The natiual scenery here, is nowhere surpassed in its enchanting union of softness and dignity — the river being four miles wide, its placid bosom broken only by islands and gleaming sails, and the horizon grandly closing in with the tall blue summits of the distant Kaats-
36 LANDSCAPE GARDENING.
kills. The smiling, gently varied lawn is studded with groups and masses of fine forest and ornamental trees, be- neath which are walks leading in easy curves to rustic seats, and summer houses placed in secluded spots, or to openings affording most lovely prospects. (See Frontis- piece). In various situations near the house and upon the lawn, sculptured vases of Maltese stone are also disposed in such a manner as to give a refined and classic air to the grounds.
As a pendant to this graceful landscape, there is within the gromids scenery of an opposite character, equally wild and picturesque — a fine, bold stream, fringed with woody banks, and dashing over several rocky cascades, thirty or forty feet in height, and falling, altogether, a hundred feet in half a mile. (See view. Sect, viii.) There are also, within the groimds, a pretty gardener's lodge, in the rural cottage style, and a new entrance lodge by the gate, in the bracketted mode ; in short, we can recall no place of moderate extent, where nature, and tasteful art, are both so prodigal of beauty, and so harmonious in effect.
Montgomery Place is directly south of Blithewood. It is remarkable for its rich masses of wo(^, with dark and shadowy walks of great length and variety, the interest of which is heightened by numerous, tasteful rustic seats, arbours, and root-houses. Near the house are a stately Conservatory and flower-garden, and the views from the lawn are rich and extensive. This place is the seat of Mrs. Edward Livingston, and like the neighbouring one of J. R. Livingston, Esq., abomids in magnificent single trees, groups, masses, and rolling woods, disposed in the modern style over an extensive rolling surface, having much the air of an old European residence.
HISTORICAL NOTICES. 37
These places owe almost their entire beauty to nature, as this wood is the native growth of the soil — ^just so much of the natural foliage having been retained, as clothes the es- tate with an ample garniture ; and much of the effect of the finest park, carefully laid out and planted in the modern style, is obtained, by judiciously managing the materials, of which nature has here been so extremely prodigal.
The seat of Mr. Wadsworth, at Geneseo, is the first in the interior of this state. The park is large, on a fine sweeping outline of surface, and contains many oaks of extraordinary size and beauty. The Genesee valley is, itself, when seen at a distance, quite park-like, and for natural, sylvan beauty, there is little in the country, sur- passing portions of the grounds of this extensive estate.
Beaverwyck, a little north of Albany, on the opposite bank of the river, is the seat of Wm. P. Van Rensselaer, Esq. (Fig. 3.) The whole estate is ten or twelve miles square, in- cluding the village of Bath on the river shore, and a large farming district. The home residence embraces several hun- dred acres, with a large level lawn, bordered by highly varied surface of hill and dale. The mansion, one of the first class, is newly erected from the plans of Mr. Diaper, and in its interior — its hall with mosaic floor of polished woods, its marble staircase, frescoed apartments, and spacious adjoin- ing conservatory — is perhaps the most splendid in the Union. The grounds are yet newly laid out, but with much judg- ment ; and six or seven miles of winding, gravelled roads and walks have been formed — their boundaries now leading over level meadows, and now winding through woody dells. The drives thus afforded, are almost unrivalled in extent and variety, and give the stranger or guest, an opportunity of see- ing the near, and distant views, to the best advantage.
38 LANDSCAPE GARDENING.
Dutchess county, bordering the Hudson, abounds with many beautiful seats. Near Rhinebeck are Mr. James's and Mr. Emmet's, charmingly located, with much simple beauty of lawn and trees ; and Mr. Kelly's, remarkable for the rich park-like view from the terrace, in front of the house. Near NeAV-Hambm-gh, the seats of Mr. Sheafe and Mr. Lenox, evince high keeping, and tasteful culture.
At Tarrytown, is the cottage residence of Washington Irving, which is, in location and accessories, almost the beau ideal of a cottage-ornee. The charming manner in which the wild foot-paths, in the neighborhood of this cottage, are conducted among the picturesque dells and banks, is pre- cisely what one would look for here. A little below, Mr. Sheldon's cottage, with its pretty lawn and its charming brook, — is one of the best specimens of this kind of resi- dence on the river. At Hastings, four or five miles south, is the agreeable seat of Judge Constant.
About twelve miles from New- York, on the Somid, is Huntefs Island, the seat of John Hunter, Esq., a place of much simplicity and dignity of character. The whole island, may be considered an extensive park, carpeted with soft lawn, and studded with noble trees. The mansion is sim- ple in its exterior, but, internally, is filled with rich treasures of art. The seat of James Munroe, Esq., on the East river in this neighbourhood, abounds with beautiful trees, and many other features of interest.
The Cottage residence of William H. Aspinwall, Esq.,* on Staten Island, is a highly picturesque specimen of Landscape Gardening. The house is in the English cot- tage style, and from its open lawn in front, the eye takes in a wide view of the ocean, the Narrows, and the blue hills of Neversink. In the rear of the cottage, the sur-
-liTIiii ' iin iil ni
Fig. 3 Beavex-n^yck. the Seat of Wm P. Van Rensselaer, Esq.
Fig. 4 Cottage Residence of Wm. H, Asxjinvrall, Esq.
HISTORICAL NOTICES. 39
face is much broken and varied, and finely wooded and planted. In improving this picturesque site, a nice sense of the charm of natural expression has been evinced ; and the sudden variations from smooth open surface, to wild, w^ooded banks, with rocky, moss-covered flights of steps, strike the stranger, equally with surprise and delight. A charming greenhouse, a knotted flower garden, and a pretty, rustic moss-house, are among the interesting points of this spirited place. (See Fig. 4).
In Connecticut, Monte Video, the seat of Daniel Wads- worth, Esq., near Hartford, is worthy of commendation, as it evinces a good deal of beauty in its grounds, and is one of the most tasteful in the state. The residence of James HilDiouse, Esq., near New-Haven, is a pleasing specimen of the simplest kind of Landscape Gardening, where grace- ful forms of trees, and a gently sloping surface of grass, are the principal features. The villa of Mr. Whitney, near New-Haven, is one of the most tastefully managed in the state. In Maine, the most remarkable seat, as respects landscape gardening and architecture, is that of Mr. Gar- diner, of Gardiner.
The environs of Boston, are more highly cultivated than those of any other city in North America. There are here, whole rural neighborhoods of pretty cottages and villas, admirably cultivated, and, in many cases, tastefully laid out and planted. The character of even the finest of these places, is, perhaps, somewhat suburban, as compared with those of the Hudson river, but we regard them as furnish- ing admirable hints for a class of residence likely to become more numerous than any other in this country — the taste- ful, suburban cottage. The owner of a small cottage resi- dence, may have almost every kind of beauty and enjoyment
40 LANDSCAPE GARDENING.
in his groimds, that the largest estate will aftbrd, so far as regards the interest of trees and plants, tasteful arrange- ment, recreation, and occupation. Indeed, we have little doubt that he, who directs, personally, the curve of every walk, selects and plants every shrub and tree, and watches with solicitude every evidence of beauty and progress, succeeds in extracting from his tasteful grounds of half a dozen acres, a more intense degree of pleasure, than one who is only able to direct and enjoy, in a general sense, the arrangement of a vast estate.
Belmont, the seat of J. P. Gushing, Esq., is a residence of more note than any other near Boston; but this is, chiefly, on account of the extensive ranges of glass, the forced fruits, and the high culture of the gardens. A new and spacious mansion has recently been erected here, and the pleasure-grounds are agreeably varied with fine groups and masses of trees and shrubs on a pleasing lawn. (Fig. 5.)
The seat of Col. Perkins, at Brookline, is one of the most interesting in this neighbourhood. The very beautiful lawn here, abounds with exquisite trees, finely disposed ; among them, some larches and Norvvay firs, with many other rare trees of uncommon beauty of form. At a short dis- tance is the villa residence of Theodore Lyman, Esq., re- markable for the unusually fine avenue of Elms leading to the house, and for the beautiful architectural taste displayed in the dwelling itself. The seat of the Hon. John Lowell, at Roxbury, possesses also, many interesting gardening features.*
* We Americans are, proverbially impatient of delay, and a few years in prospect, appears an endless futurity. So much is this the feeling with many, that we verily believe there are hundreds of our country places, wliich owe their bareness and destitution of foliage to the idea, so common, that it requires "an age" for forest trees to " grow up."
The middle aged man, hesitates about the good of planting what he imagines,
Fig. 5. Belmont Place, near Boston, the Seat of J. P^Cusbing, Esq.
FiH, ij. 'vicwin the Grounds at Pits Bank.
HISTORICAL NOTICES. 41
Pine Bank, the Perkins estate, on the border of Jamaica lake, is one of the most beautiful residences near Boston. The natural surface of the ground is exceedingly flowing and graceful, and it is varied by two or three singular little dimples, or hollows, which add to its eflect. Luxuri- ant specimens of the white pine abound, so as to give a name to the place, Avhich is otherwise charmingly planted and grown. The perfect order of the gromids ; the beauty of the walks, sometimes skirting the smooth open lawn, en- riched with rare plants and shrubs, and then winding by the shadowy banks of the water ; the soft and quiet cha- racter of the lake itself, — its margin richly fringed with trees, which conceal here and there a pretty cottage, its firm clean beach of gravel, and its water of crystal purity ; all these features make this place a little gem of natural and artistical harmony, and beauty. (Fig. 6.)
On the other side of the lake is the cottage of Thomas Lee, Esq. Enthusiastically fond of botany, and gardening in all its departments, Mr. Lee has here formed a residence of
he shall never see arriving at maturity, and even many who are younger, conceive that it requires more than an ordinary lifetime, to rear a fine wood of planted trees. About two years since, we had the pleasure of visiting the seat of the late Mr. Lowell, whom we found in a green old age, still enjoying, with the enthusiasm of youth, the pleasures of Horticulture and a country life. For the encouragement of those, who are ever complaining of the tardy pace with which the growth of trees advances, we will here record that we accompanied Mr. L. through a belt of fine woods (skirting part of his residence,) nearly half a mile in length, consisting of almost all our finer hardy tree.s, many of them apparently full grown, the whole of wliich had been planted by him when he was thirty-two years old. At that time, a solitary elm, or two were almost the only trees upon his estate. We can hardly conceive a more rational source of pride or enjoyment, than to be able thus to walk, in the decline of years, beneath the shadow of um- brageous woods and groves, planted by our own hands, and whose growth has become almost identified with our own progress and existence.
6
42 LANDSCAPE GARDENING.
as much variety and interest as we ever saw in so moderate a compass — about 20 acres. It is, indeed, not only a most instructive place to the amateur of landscape gardening, but to the naturalist and lover of plants. Every shrub seems placed precisely in the soil and aspect it likes best, and native and foreign Rhododendrons, Kalmias, and other rare shrubs, are seen here in the finest condition. There is a great deal of variety in the surface here, and while the lawn- front of the house has a polished and graceful air, one or two other portions are quite picturesque. Near the entrance gate is an English oak, only fourteen years planted, now forty feet high.
The whole of this neighbourhood of Brookline is a kind of landscape garden, and there is nothing in America, of the sort, so inexpressibly charming as the lanes which lead from one cottage, or villa, to another. No animals are allowed to run at large, and the open gates, with tempting vistas and glimpses under the pendant boughs, give it quite an Arcadian air of rural freedom and enjoyment. These lanes are clothed with a profusion of trees and wild shrub- bery, often almost to the carriage tracks, and curve and wind about, in a mamier quite bewildermg to the stranger who attempts to thread them alone ; and there are more hints here for the lover of the picturesque in lanes, than we ever saw assembled together in so small a compass.
In the environs of New-Bedford are many beautiful residences. Among these, we desire particularly to notice the residence of James Arnold, Esq. There is scarcely a place in New-England, where the -pleasure-grounds are so artistically laid out, so full of variety, and in such perfect order and keeping, as at this charming spot ; and its winding walks, open bits of lawn, shrubs and plants grouped on turf,
~^ i5*?^l:^^fc=^
Fig. 7. View in the Grounds of James Arnold, Esq New-Bedford.
Fig 8 M'r Dunns Cottaqe, Mount Hollv, N J
HISTORICAL NOTICES. 43
shady bowers, and rustic seats, all most agreeably combined, render this a very interesting and instructive suburban seat.
In New- Jersey, the grounds of the Count de Survilliers, at Bordentown, are very extensive ; and although the surface is mostly flat, it has been well varied by extensive plan- tations. At Momit Holly, about twenty miles from Camden, is Mr. Dunn's unique, semi-oriental cottage, with a con- siderable extent of pleasure ground, newly planted, after the designs of Mr. Notman. (Fig. 8.)
About Philadelphia there are several very interesting seats on the banks of the Delaware, and Schuylkill, and the district between these two rivers.
The country seat of Geo. iSheaff, Esq., one of the most remarkable in Pennsylvania, in many respects, is twelve miles north of Philadelphia. The house is a large and respectable mansion of stone, surromided by pleasure-grounds and plantations of fine evergreen and deciduous trees. The conspicuous ornament of the grounds, however, is a mag- nificent white oak, of enormous size, whose wide stretching branches, and grand head, give an air of dignity to the whole place. (Fig. 9.) Among the sylvan features here, most in- teresting, are also the handsome evergreens, chiefly Balsam or Balm of Gilead firs, some of which are now much higher than the mansion. These trees were planted by Mr. Sheaff twenty-two years ago, and were then so small, that they were brought by him from Philadelphia, at various times, in his carriage — a circumstance highly encouraging to despair- ing planters, when we reflect how comparatively slow grow- ing is this tree. This whole estate is a striking example of science, skill and taste, applied to a country seat, and there are few in the Union, taken as a whole, superiour to it.*
* The farm is 300 acres in extent, and, in the time of De Witt Clinton, was pro- nounced by him the model farm of the United States. At the present time we
44 LANDSCAPE GARDENING,
Cottage residence of Mrs. Camac. This is one of the most agreeable places, within a few miles of Philadelphia. The house is a picturesque cottage, in the rural gothic style, with very charming and appropriate pleasure grounds, com- prising many groups and masses of large and finely grown trees, interspersed with a handsome collection of shrubs and plants ; the whole very tastefully arranged. (Fig. 10.) The lawn is prettily varied in surface, and there is a conservatory attached to the house, in which the plants in pots are hidden in beds of soft green moss, and which, in its whole effect and management, is more tasteful and elegant than any plant house, comiected with a dwelling, that we re- member to have seen.
Stenton, near Germantown, four miles from Philadelphia is a fine old place, with many picturesque features. The farm consists of 700 acres, almost without division fences — admirably managed — and remarkable for its grand old avenue of the hemlock spruce, 110 years old, leading to a family cemetery, of much sylvan beauty. There is a large, and excellent old mansion, with paved hall, built in 1731, which is preserved in its original condition. This place was the seat of the celebrated Logan, the friend of William Penn, and is now owned by his descendant, Albanus Logan.
know nothing superior to it, and Capt. Barclay, in his agricultural tour, says it was the only instance of regular, scientific system of husbandry in the English man- ner, he saw in America. Indeed, the large, and regular fields, filled with luxuriant crops, every where of an exact evenness of growth, and every where free from ■weeds of any sort ; the perfect system of manuring and culture ; the simple and complete fences ; the fine stock ; the very spacious bams, every season newly whitewashed internally and externally, paved with wood, and as clean as a gentleman's stable, (with stalls to fatten 90 head of cattle;) these, and the masterly way in which the whole is managed, both as regards culture and profit, render this estate one of no common interest in an agricultural, as well as ornamental point of view.
Y\" 9. The Seat of Geo. SheafF, lisq.
Fig. 10 Mrs. Camac's Residence.
HISTORICAL NOTICES. 45
The villa residence of Alexander Brown, Esq., is situated on the Delaware, a few miles above Philadelphia. There is here, a good deal of beauty in the natural style, made up chiefly by lawn and forest trees. A pleasing drive through plantations of 25 years growth, is one of the most interest- ing features— and there is much elegance and high keeping in the grounds.
Below Philadelphia, the lover of beautiful places will find a good deal to admire in the country seat of John R. Latimer, Esq., near Wilmington, which enjoys the reputa- tion of being the finest in Delaware. This place has all the advantages of high keeping, richly stocked gardens and conservatories, and much natural beauty, heightened by judicious planting, arrangement and culture.
At the south are many extensive country residences re- markable for trees of unusual grandeur and beauty, among which the live oak is very conspicuous ; but they are, in gene- Tal, wanting in that high keeping and care, which is so essential to the charm of a landscape garden.
Of smaller villa residences, suburban chiefly, there are great numbers, springing up almost by magic, in the borders of our towns and cities. Though the possessors of these can scarcely hope to introduce any thing approaching to a land- scape garden style, in laying out their limited gromids, still they may be greatly benefited by an acquaintance with the beauties, and the pleasures, of this species of rural embellish- ment. When we are once master of the principles, and aware of the capabilities of an art, we are able to infuse an expression of tasteful design, or an air of more correct elegance, even into the most humble works, and with very limited means.
While we shall endeavour, in the following pages, to give such a view of modern Landscape Gardening, as will enable
46 LANDSCAPE GARDENING.
the improver to proceed with his fascinating operations, in embellishing the comitry residence, in a practical mode, based upon what are now generally received as the correct princi- ples of the art, we would desire the novice, after making him- self acquainted with all that can be acquired from written works within his reach, to strengthen his taste and add to his knowledge, by a practical inspection of the best country seats among us. In an infant state of society, in regard to the fine arts, much will be done in violation of good taste ; but here where nature has done so much for us, there is scarcely a large country residence in the Union, from which useful hints in Landscape Gardening may not be taken. And in nature, a group of trees, an accidental pond of water, or some equally simple object, may form a study more convincing to the mind of a true admirer of natural beauty, than the most carefully drawn plan, or the most elaborately written description.
HISTORICAL NOTICES.
47
SECTION II.
BEAUTIES AND PRINCIPLES OF THE ART.
Capacities of tlie art. The beauties of the ancient stj'lc. The modern style. General beauty, and Picturesque beauty : their distinctive characteristics. Illustrations drawn from Nature and Painting. Nature and principles of Landscape Gardening as an Imitative art. The Graceful school. The Picturesque school. Simple beauty of the art. The principles of Unity, Harmony, and Variety.
" Here Nature in her unaffected dresse, Plaited with vallies and imbost with hills, Enchast with silver streams, and fringed with woods,
Sits lovely."
Chamberlayne.
" II est des soins plus doux, un art plus enchanteur. C'est peu de charmer I'ceil, il faut parler au coeur. Avez-vous done connu ces rapports invisibles, Des eorps inanimes et des etres sensibles ? Avez-vous entendu des eaux, des pres, des bois. La muette eloquence et la secrete voix ? Rendez-nous ces effets." Les Jardiiis, Book I.
E F O R E we proceed to a detailed, and more practical consideration of the subject, let us oc- cupy ourselves for a moment with the con- sideration of the different results which are to be sought after, or, in other words, what ss^ kinds of beauty we may hope to produce by Landscape Gardening. To attempt the smallest Avork in any art, without knowing either the capacities of that art, or the
48
LANDSCAPE GARDENING.
schools, or modes, by which it has previously been character- ized, is but to be groping about in a dim twilight, without the power of knowing, even should we be successful in our efforts, the real excellence of our production ; or of judging its merit, comparatively, as a work of taste and imagination.
[Fig. 11.] The Geometric style, from an old print.
The beauties elicited by the ancient style of gar- dening were those of regularity, symmetry, and the display of laboured art. These were attained in a merely me- chanical manner, and usually involved little or no theory. The geometrical form and lines of the buildings, were only extended and carried out, in the garden. In the best classical models, the art of the sculptor conferred dignity and elegance on the garden, by the fine forms of marble vases, and statues ; in the more intricate and laboured specimens of the Dutch school, prevalent in England in the time of William IV., (Fig. U,) the results evince a fertility of
BEAUTIES AND PRINCIPLES OF THE ART. 49
odd conceits, rather than the exercise of taste or imagination ; and to level ground naturally uneven, or to make an avenue, by planting rows of trees on each side of a broad walk, requires only the simplest perception of the beauty of mathematical forms. In short, to lay out a garden in the geometric style, was little more than a formal routine, and it was only after the superiour interest of a more natural man- ner was enforced by men of genius, that beauty of expres- sion was recognized, and Landscape Gardening was raised to the rank of a fine art.
The ancient style of gardening may, however, be intro- duced with good eifect in certain cases. In public squares and gardens, where display, grandeur of effect, and a highly artificial character are desirable, it appears to us the most suitable ; and no less so in very small gardens, in which variety and irregularity is out of the question. Where a taste for imitating an old and quaint style of residence exists, the symmetrical, and knotted garden, would be a proper accompaniment ; and pleached alleys, and sheared trees, would be admired, like old armour, as curious specimens of antique taste and custom.
The earliest professors of modern Landscape Gardening, have generally agreed upon two species of beauty, of which the art is capable — variations no less certainly distinct, on the one hand, than they are capable of intermingling and combining, on the other. These are general^ and picturesque beauty : or, to speak more definitely, the beauty characterized by simple and flowing forms, and the expressed by striking, irregular, spirited forms.
The admirer of nature, as well as the lover of pictures and engravings, will at once call to mind examples of scenery distinctly expressive of each of these kinds of beauty. In
7
50 LANDSCAPE GARDENING.
nature, perhaps some gently undulating plain covered with emerald turf, partially or entirely encompassed by rich, roll- ing outlines of forest canopy, — its widest expanse here broken occasionally by noble groups of round-headed trees, or there interspersed with single specimens whose trunks support heads of foliage flowing in outline, or drooping in masses to the very turf beneath them. In such a scene we often be- hold the azure of heaven, and its silvery clouds, as well as the deep verdure of the luxuriant and shadowy branches, re- fl.ected in the placid bosom of a sylvan lake ; the shores of the latter swelling out, and receding, in gently curved lines ; the banlfs, sometimes covered with soft turf sprinkled with flowers, and in other portions clothed with luxmiant masses of verdant shrubs. Here are all the elements of what is termed natural beauty, — or a landscape characterized by simple, easy, and flowing lines.
For an example of the opposite character, let us take a stroll to the nearest woody glen in your neighbourhood — perhaps a romantic valley, half shut m on two or more sides by steep rocky banks, partially concealed and overhung by clustering vines, and tangled thickets of deep foliage. Against the sky outline breaks the wild and irregular form of some old, half decayed tree near by, or the horizontal and unique branches of the larch or the pine, with their strongly marked forms. Rough and irregular stems and trunks, rocks half covered with mosses and flowering plants, open glades of bright ver- dure opposed to dark masses of bold shadowy foliage, form prominent objects in the foreground. If water enlivens the scene, we shall hear the murmur of the noisy brook, or the cool dashing of the cascade, as it leaps over the rocky barrier. Let the stream turn the ancient and Avell worn wheel of the old mill in the middle ground, and we shall have an illus-
BEAUTIES AND PRINCIPLES OP THE ART. 51.
tration of picturesque beauty, not the less striking from its familiarity to every one.
To the lover of the fine arts, the name of Claude Lor- raine cannot fail to suggest examples of beauty in its purest and most elegant forms. In the inimitable pictures of this great master, we see portrayed all those graceful and flowing forms, and all that finely accordant colouring, which delight so much the mind of refilled taste and sensibility — composi- tions emanating from a beautifully harmonious soul, and inspired by a climate, and a richness of nature and art, nowhere surpassed.
On the other hand, where shall we find all the elements of the picturesque, more graphically combined, than in the vigo- rous landscapes of Salvator Rosa ! In those rugged scenes, even the lawless aspects of his favourite robbers and ban- ditti, are not more spirited than the bold rocks and wild passes by which they are surrounded. And in the produc- tions of his pencil, we see the influence of a romantic and vigorous imagination, nursed amid scenes teeming with the grand as well as the picturesque — both of which he em- bodied in the most striking manner.
In giving these illustrations of general, and of pictu- resque beauty, we have not intended them to be understood in the light of exact models for imitation in Landscape Gar- dening— only as striking examples of expression in natural scenery. Although in nature many landscapes partake in a certain degree of both these kinds of beauty, yet it is no doubt true that the effect is more satisfactory, where either the one or the other character predominates. The accom- plished amateur, should be able to seize at once upon the characteristics of these two species of beauty in all scenery. To assist the reader in this kind of discrimination, we shall
52 LANDSCAPE GARDENING.
keep these expressions constantly in view, and we hope we shall be able fully to illustrate the difference in the expression of even single trees, in this respect. A few strongly marked objects, either picturesque, or simply beautiful, will often confer their character upon a whole landscape ; as the de- struction of a single group of bold rocks, covered with wood, may render a scene, once picturesque, completely insipid.
The early writers on the modern style were content with trees allowed to grow in their natural forms, and with an easy assemblage of sylvan scenery in the pleasure-grounds, which resembled the usual woodland features of nature. The effect of this method will always be interesting, and an agreeable effect will ever be the result of following the simplest hints derived from the free and luxuriant forms of nature. No residence in the country can fail to be pleasing, whose features are natural groups of forest trees, smooth lawn, and hard gravel walks.
But this is scarcely Landscape Gardening in the true sense of the word, although apparently so understood by many writers. By Landscape Gardening, we miderstand not only an imitation, in the grounds of a country residence, of the general forms of nature, but an expressive^ harmonious^ and refined imitation* In Landscape Gardening, we should aim
* "Thus, there is a beauty of nature and a beauty of art. To copy the beauty of nature cannot be called being an artist in the highest sense of the word, as a mechanical talent only is requisite for this. The beautiful in art depends on ideas, and the true artist, therefore, must possess, together with the talent for technical execution, that genial power which revels freely in rich forms, and is capable of producing and animating them. It is by this, that the merit of the artist and his production is to be judged; and these cannot be properly esti- mated among those barren copyists which we find so many of our flower, land- scape, and portrait painters to be. But the artist stands much higher in the scale, who, though a copyist of visible nature, is capable of seizing it with poetic feeling, and representing it in its more dignified sense ; such for example as Raphael, Poussin, Claude, &c." — Weinbreuner.
BEAUTIES AND PRINCIPLES OF THE ART. 53
to separate the accidental, and extraneous in nature, and to preserve only the spirit, or essence. This subtle essence lies, we believe, in the expression, more or less pervading every attractive portion of nature. And it is by eliciting, preser- ving, or heightening this expression, that we may give our landscape gardens a higher charm, than even all the polish of art can bestow.
Now the two expressions in nature most suitable for imitation, lie in Beauty's flowing, graceful outlines ; and in the irregular, spirited forms of the Picturesque. The Sublime, and the Grand, characters that abound in nature, scarcely come within the limits of artificial imitation — certainly not in the extent of most places in America.
On the other hand, the graceful, and the picTUREsauE, are characters abounding even in small portions of nature. In the grounds of a country residence, the force of these expressions may often be greatly increased. Frequently a group of trees, a rounded, or an abrupt knoll, situated prominently, will give a hint for all future improvement.
If we choose a bit of scenery naturally flowing and beautiful in its outlines, we heighten that expression by the refinements of care and culture ; by our smoothly mown lawns, curved walks, rich groups of flowermg shrubs and trees. If we fall upon a picturesque locality, we may add to its charm, both by the removal of every thing inharmo- nious or out of keeping, and by winding the walks, select- ing and planting the shrubs and trees, adapting the style of the buildings, and, in short, conducting all our improve- ments, with an eye to picturesque expression.
There is no surface of ground, however bare, which has not, naturally, more or less tendency to one or the other of these expressions. And the improver who detects the true
64 LANDSCAPE GARDENING,
character, and plants, builds, and embellishes, as he should — constantly aiming to elicit and strengthen it — will soon arrive at a far higher and more satisfactory result, than one, who, in the common manner, works at random. The latter may succeed in producing pleasing grounds— he will un- doubtedly add to the general beauty and tasteful appearance of the country, and we gladly accord him our thanks. But the improver who unites with pleasing forms, an expression of sentiment, will affect not only the common eye, but, much more powerfully, the imagination, and the refined and deli- cate taste.
Expression being the master key to the heart, in all land- scapes, it follows that the highest imitative sphere of the art of Landscape Gardening, consists in arranging the materials so as to awaken emotions of grace, elegance, or picturesque- ness, joined with unity, harmony, and variety, more distinct and forcible, than are suggested by natural scenery. This may, at first sight, seem difficult, to the mere lover of nature ; but a moment's thought will convince him, that the very fact of art and man's habitation being contrasted, as it is in a Landscape Garden, with a natural expression, will at once heighten the force of the latter. The sunny, peaceful lake is less smiling, and the impetuous mountain cascade less stirring, when we cross them in a wild journey, than Avhen they open upon us, unlooked for, in the luxuriant grounds of a well kept, rural home.
With these views regarding expression in natural scene- ry, we shall divide the modern style of Landscape Garden- ing into two kinds, fomided on the two leading expressions to be imitated, viz : the graceful and the picturesque ; and, these two divisions having each their especial admirers, we shall distinguish them as the Graceful, and the Pictu-
I'ig. 12 Landscape Gardening, in the Graceful Schocl.
F'ig 13. Landscape G^dening, in the Picturesque School.
BEAUTIES AND PRINCIPLES OF THE ART. 55
lesqiie schools of the art.* We have already suggested that almost all our comitiy places have, naturally, one or the other of these characters ; and the unity and harmony — in short, the whole beauty and success of improvements, will depend on our feeling and understanding those character- istics before we commence exercising our taste. The fore- going hints on expression in wild landscape, will perhaps assist our readers in reading nature's physiognomy. Let lis now examine, a little, the character of the two schools founded on these expressions.
The graceful school of Landscape Gardening, (Fig. 12,) aims at the production of outlines whose curves are expressive of grace, surfaces of softness, and growth of richness £md luxuriance. In the shape of the ground, it is evinced by easy undulations, melting gradually into each other. In the form of trees, by smooth stems, full, round or symmetrical heads of foliage, and luxuriant branches,
* Taking Landscape Gardening, as we do in this country, on new starting ground, we consider ourselves fairly at liberty to define, and clear up, the confused and cloudy views of the end or aim of imitation, pervading most European authors on this subject. Price, whose work on the Picturesque (see late edition of Sir T. Lauder,) is most full and complete, we consider the master, and able exponent of the Picturesque school. Repton, who advocates in his works a more polished and cultivated style, (see Loudon's edition of Repton,) we hold to be the first authority in the Graceful School. Mr. Loudon's Gardenesque style, is but another word for what we term the Graceful school ; except that we con- sider the latter exemplified in all flowing, luxuriantly developed forms ; while Mr. Loudon, who prefers mere artistical beauty to that of expression, properly limits the gardenesque to artificial planting only. The distinction between the picturesque, and the beautiful, is perhaps open to some difference of opinion, and all Land- scape Gardening aims at the production of the beautiful. But in the graceful out- lines of highly cultivated forms of trees, and beautiful cur^-es of surface and walks, in highly polished scenes, lies so different a kind of beauty from that of the irregu- lar ground, trees, etc., of picturesque landscape, that we conceive the two terms will be found, at least for the moderate scale of the art with us, at once precise and significant
56 LANDSCAPE GARDENING.
often drooping to the ground, — which is chiefly attained by planting and grouping, to allow free development of form ; and by selecting trees of suitable character, as the elm, the ash, and the like. In walks and roads, by easy flowing curves, following natural shapes of the surface, with no sharp angles or abrupt turns. In water, by the smooth lake with curved margin, embellished with flowing groups of trees, and full masses of flowering shrubs — or in the easy winding curves of a brook. The keeping of such a scene should be of the most polished kind, — grass mown into a softness like velvet, gravel walks scrupulously firm, dry, and clean, and the most perfect order and neatness, should reign throughout. Among the trees and shrubs, should be conspicuous the finest foreign sorts, distinguished by beauty of form, foliage, and blossom ; and rich groups of shrubs, and flowering plants, should be arranged in the more dressed portions near the house. And finally, considering the house itself as a feature in the scene, it should, properly, belong to one of the classical modes — the Italian, Tuscan, or Yenetian forms are preferable, because these have a domestic air, and readily admit of the graceful accompani- ments of vases, urns, and other harmonious accessories. Or, if we are to have a plainer dwelling, it should be sim- ple in its character, and its veranda may be festooned with masses of the finest climbers.
The PicTUREsauE School of Landscape Gardening, Fig. 13, aims at the production of outlines of a certain spirited irregularity ; surfaces, comparatively abrupt and broken ; and growth, of a somewhat wild and bold character. The shape of the ground sought after, has its occasional smooth- ness varied by sudden variations, and, in parts, runs into dingles, rocky groups, and broken banks. The trees, should.
BEAUTIES AND PRINCIPLES OF THE ART. 57
in many places, be old and irregular, with rough stems, and bark ; and pines, larches, and other trees of striking, irregular growth, must appear, in numbers sufficient to give character to the woody outlines. As, in the Graceful school the trees are planted singly, in open groups, to allow full expansion, so in the Picturesque school, the grouping takes every variety of form ; every object should group with another ; trees and shrubs are often planted closely together ; and intricacy, and variety — thickets — glades — and under- wood— as in wild nature, are all indispensable. Walks and roads are more abrupt in their windings, turning off fre- quently at sudden angles, where the form of the ground, or some inviting object, directs. In water, all the wildness of romantic spots in nature, is to be imitated or preserved ; and the lake or stream with bold shore, and rocky, wood-fringed margin, or the cascade in the secluded dell, are the character- istic forms. The keeping of such a landscape will, of course, be less careful than in the graceful school. Firm gravel walks near the house, and a general air of neatness in that quarter, are indispensable to the fitness of the scene in all modes, and, indeed properly evince the recognition of art in all Landscape Gardening. But the lawn may be less fre- quently mown, the edges of the walks less carefully trimmed, in the picturesque mode. While in portions more removed from the house, the walks may sometimes sink into a mere footpath without gravel, and the lawn change into the forest glade or meadow. The architecture of the Picturesque school, is the Gothic mansion and old English cottage, or the Swiss, or some other bracketted form, with bold projection, deep shadows, and irregular outlines. Rustic baskets, and similar ornaments, may abound near the house, and in the more frequented parts of the place.
58 LANDSCAPE GARDENING.
The recognition of art, as Loudon justly observes, is a first principle in Landscape Gardening, as in all other arts ; and those of its professors have erred, who supposed that the object of this art is, merely, to produce a fac-simile of nature, that could not be distinguished from a wild scene. But we contend that this principle may be equally attained in either school — the picturesque cottage being as much a work of art, as the classic villa ; its baskets, and seats of rustic work, indicating the hand of man, as well as the marble vase, and balustrade ; and a walk, sometimes narrow and crooked, is as quickly recognized as man's work, as one always regular and flowing. Foreign trees, of picturesque growth, are as readily obtained, as those of graceful forms. The recognition of art is, therefore, always apparent in both modes. The evidences are indeed stronger, and more multi- plied, in the careful polish of the Graceful school ; and looking at the effects, with this principle mainly in view, as many persons will, whose only standard is cost and expense, this school must be acknowledged the most beautiful and perfect.* But, assuming the principle of beauty of expres- sion to be the higher, many imaginative persons will prefer the picturesque school, as affecting the mind with much of the peculiar beauty of wild nature, combined with the ad-
* The heau ideal in Landscape Gardening, as a fine art, appears to us, to be em- braced in the creation of scenery expressive of a peculiar kind of beauty, as the graceful, or picturesque, the materials of which are, to a certain extent, different from those in wild nature, being composed of the floral and arboricul- tural riches of all climates, as far as possible ; uniting, in the same scene, a richness and a variety never to be found in any one portion of nature ; — a scene characterized as a work of art, by the variety of the materials, as foreign trees, plants, &c., and by the polish and keeping of the grounds in the natural style, as distinctly as by the uniform and symmetrical arrangement, in the ancient style.
BEAUTIES AND PRINCIPLES OF THE ART. 59
vantages of a suitable convenience for habitation. A certain artist-like feeling is necessary, to enable one to relish the picturesque. For this reason, the many, see and feel the power of beauty in her graceful, flowing forms ; but it is only the imaginative few, who appreciate her more free and spirited charms. There are perhaps a thousand, who admire the smoothness, softness, and flowing outlines, that predominate in the lawn and pleasure grounds, as we usually see them, where there is one who would prefer a cottage in a highly irregular and picturesque valley, or a castle on a rocky crag ; though the latter, may, to certain minds, be incomparably more enchanting.
We shall, therefore, keep distinctly in view the two schools, in treating of the practice of the art. There are always, circumstances which must exert a controlling influ- ence over amateurs, in this country, in choosing between the two. These are, fixed locality, expense, individual prefer- ence in style of building, and many others which readily occur to all. The great variety of attractive sites, in the older parts of the country, afford an abundance of indica- tions for either taste. Within the last five years, we think the picturesque is beginning to be preferred. It has, when a suitable locality offers, great advantages for us. The raw materials of wood, water, and surface, by the margin of many of our rivers and brooks, are at once appropriated with so much effect, and so little art, in the picturesque mode ; the annual tax on the purse too, is so comparatively little, and the charm so great !
On the other hand, the residences of a country of level plains, usually allow only, the beauty of simple, and graceful forms ; and the larger demesne, with its swelling hills and noble masses of wood, (may we not, prospectively, say the
60 LANDSCAPE GARDENING.
prairie too,) should always, in the hands of the man of wealth, be made to display all the freeness and beauty of the Graceful school.
But there are many persons with small, cottage places, of little decided character, who have neither room, time, nor income, to attempt the improvement of their grounds fully, after either of those two schools. How shall they render their places tasteful and agreeable, in the easiest manner ? We answer, hy attempting 07ily the simple and the natural ; and the unfailing way to secure this, is by employing only trees and grass. A soft verdant lawn, and a few forest or ornamental trees, well grouped, give miiversal pleasm-e — they contain in themselves, in fact, the basis of all our agreeable sensations in a landscape garden — (natural beauty, and the recognition of art,) and they are the most enduring sources of enjoyment in any place. There are no comitry seats, in the United States, so unsatisfactory and tasteless as those in which, without any definite aim, every thing is attempted ; and a mixed jumble of discordant forms, materials, ornaments, and decorations, is assembled — a part in one style and a bit from another, without the least feelmg of unity, or congruity. These rural bedlams, full of all kinds of absurdities, without a leading character or expres- sion of any sort, cost their owners a vast deal of trouble, and money, without giving a tasteful mind, a shadow of the beauty which it feels, at the first glimpse of a neat cot- tage residence, with its simple, sylvan character of well kept lawn and trees. If the latter does not rank high in the scale of Landscape Gardening, as an art, it embodies much of its essence, as a source of enjoyment — the production of the beautiful in country residences.
Besides the beauties of form and expression in the diffe-
BEAUTIES AND PRINCIPLES OF THE ART, 61
rent modes of laying out groimds, there are certain universal and inherent beauties, common to all styles, and, indeed, to every composition in the fine arts. Of these, we shall es- pecially point out those growing out of the principles of
UNITY, HARMONY, and VARIETY.
Unity, or ihe production of a whole, is a leading principle of the highest importance, in every art of taste or design, without which, no satisfactory result can be realized. This arises from the fact, that the mind can only attend, with plea- sure and satisfaction, to one object, or one composite sensation, at the same time. If two distinct objects, or class of objects present themselves at once to us, we can only attend satisfac- torily to one, by withdrawing our attention, for the time, from the other. Hence the necessity of a reference to this leading principle of unity.
To illustrate the subject, let us suppose a building, partially built of wood, with square windows, and the remainder of brick or stone, with long and narrow windows. However well such a building may be constructed, or however nicely the different proportions of the edifice may be adjusted, it is evident, it can never form a satisfactory whole. The mind can only account for such an absurdity, by supposing it to have been built by two individuals, or at two different times, as there is nothing indicating an unity of mind in its com- position.
In Landscape Gardening, violations of the principle of unity are often to be met with, and they are always indicative of the absence of correct taste in art. Looking upon a landscape from the windows of a villa residence, we sometimes see a considerable portion of the view embraced by the eye, laid out in natural groups of trees and shrubs, and upon one side, or, perhaps, in the middle of the same scene, a formal avenue
62 LANDSCAPE GARDENING.
leading directly up to the house. Such a view can never appear a satisfactory whole, because we experience a con- fusion of sensations in contemplating it. There is an evident incongruity in bringing two modes of arranging plantations, so totally different, under the eye at one moment, which distracts, rather than pleases the mind. In this exam- ple, the avenue, taken by itself, may be a beautiful object, and the groups and connected masses may, in themselves, be ele- gant, yet if the two portions are seen together, they will not form a whole, because they cannot make a composite idea. For the same reason, there is something unpleasing in the introduction of fruit trees among elegant ornamental trees on a lawn, or even in assembling together, in the same beds, flowering plants, and culinary vegetables — one class of vegetation suggesting the useful, and homely, alone to the mind, and the other, avowedly, only the ornamental.
In the arrangement of a large extent of surface, where a great many objects are necessarily presented to the eye at once, the principle of unity will suggest that there should be some grand or leading features to which the others should be merely subordinate. Thus, in grouping trees, there should be some large and striking masses to which the others appear to belong, however distant, instead of scattered groups, all of the same size. Even in arranging walks, a whole will more readily be recognized, if there are one or two, of large size, with which the others appear connected as branches, than if all are equal in breadth, and present the same appearance to the eye in passing.
In all works of art which command universal admiration, we discover an unity of conception and composition, an unity of taste and execution. To assemble in a single composition, forms which are discordant, and portions dissimilar in plan,
BEAUTIES AND PRINCIPLES OF THE ART. 63
can only aiFord pleasure for a short time, to tasteless minds, or those fond of trifling and puerile conceits. The production of an accordant whole, is, on the contrary, capable of affording the most permanent enjoyment to educated minds, every where, and at all periods of time.
After imity, the principle of Variety is worthy of con- sideration, as a fertile source of beauty in Landscape Garden- ing. Variety must be considered as belonging more to the details, than to* the production of a whole; and it may be attained by disposing trees and shrubs in numerous different ways ; and by the introduction of a great number of different species of vegetation, or kinds of walks, ornamental objects, buildings and seats. By producing intricacy, it creates in scenery a thousand points of interest, and elicits new beauties, through different arrangements and combinations of forms and colours, light and shades. In pleasure-grounds, while the whole should exhibit a general plan, the different scenes presented to the eye, one after the other, should pos- sess sufficient variety in the detail, to keep alive the interest of the spectator, and awaken further curiosity.
Harmony may be considered the principle presiding over variety, and preventing it from becoming discordant. It, indeed, always supposes contrasts^ but neither so strong, nor so frequent, as to produce discord ; and variety^ but not so great, as to destroy a leading expression. In plantations, we seek it in a combination of qualities, opposite in some re- spects, as in the colour of the foliage, and similar in others, as the form. In embellishments, by a great variety of objects of interest, as sculptured vases, sun dials, or rustic seats, baskets, and arbors, of different forms, but all in accordance, or keeping, with the spirit of the scene.
To illustrate the three principles, with reference to Land-
64 LANDSCAPE GARDENING.
scape Gardening, we may remark, that, if imity, only, were consulted, :a scene might be planted with but one kind of tree, the effect of which would be sameness ; on the other hand, variety might be carried so far as to have every tree of a different kind, which would produce a confused effect. Harmony, however, introduces contrast, and variety, but keeps them subordinate to unity, and to the leading expres- sion, and is, thus, the highest principle of the three.
In this brief abstract of the nature of imitation in Land- scape Gardening, and the kinds of beauty which it is possible to produce by means of the art, we have endeavoured to elu- cidate its leading principles, clearly, to the reader. These grand principles we shall here succinctly recapitulate, premising, that a familiarity with them is of the very first importance in the successful practice of this elegant art, viz.
The Imitation of the Beauty op Expression, derived from a refined perception of the sentiment of na- ture : The Recognition of Art, founded on the immu- tability of the true, as well as the beautiful : And the Production of Unity, Harmony, and Variety, m order to render complete, and continuous, our enjoyment of any artistical work.
Neither the professional Landscape Gardener, nor the ama- teur, can hope for much success in realizing the nobler effects of the art, miless he first make himself master of the natural character, or prevailing expression, of the place to be im- proved. In this nice perception, at a glance, of the natural expression, as well as the capabilities of a residence, lies the secret of the superior results produced even by the improver, who, to use the words of Horace Walpole, " is proud of no other art than that of softening nature's harshness, and copy- ing her graceful touch." When we discover the picturesque,
BEAUTIES AND PRINCIPLES OF THE ART. 65
indicated in the grounds of the residence to be treated, let us take advantage of it ; and while all harshness incompatible with scenery near the house is removed, the original expres- sion may in most cases be heightened, in all, rendered more elegant and appropriate, without lowering it in force or spirit. In like manner good taste will direct us to embellish scenery expressive of graceful beauty, by the addition of forms, whether in trees, buildings, or other objects, harmonious in character, as well as in colour and outline.
66 LANDSCAPE GARDENING.
SECTION III.
ON WOOD.
The beauty of Trees in Rural Embellishments. Pleasure resulting from their cultivation. Plantations in the Ancient Style ; their formality. In the Modern Style j grouping trees. Arrangement and grouping in the Graceful school ; in the Picturesque school. Illustra- tions in planting villa, ferme ornee, and cottage grounds. General classification of trees as to forms, with leading characteristics of each class.
" He gains all points, who pleasingly confounds, Surprises, varies, and conceals the bounds. Calls in the country, catches opening glades, Joins willing woods, and varies shades from shades; Now breaks, or now directs the intending lines; Paints as you plant, and, as you work, designs."
Pope.
M O N G all the materials at our disposal for the embellishment of coimtry residences, •none are at once so highly ornamental, so indispensable, and so easily managed, as trees, or icood. We introduce them in every part of the landscape, — in the fore- ground as well as in the distance, on the tops of the hills and in the depths of the valleys. They are, indeed, like the drapery which covers a somewhat ungainly figure, and while it conceals its defects, communicates to it new interest and expression.
A tree, undoubtedly, is one of the most beautiful objects in nature. Airy and delicate in its youth, luxuriant and majestic
ON WOOD AND PLANTATIONS. 67
in its prime, venerable and picturesque in its old age, it con • stitutes in its various forms, sizes, and developments, the greatest charm and beauty of the earth in all countries. The most varied outline of surface, the finest combination of pic- tm-esque materials, the stateliest country house would be com- paratively tame and spiritless, without the inimitable ac- companiment of foliage. Let those who have passed their whole lives in a richly wooded country, — whose daily visions are deep leafy glens, forest clad hills, and plains luxuriantly shaded, — transport themselves for a moment to the desert, where but a few stunted bushes raise their heads above the earth, or those wild steppes where the eye wanders in vain for some " leafy garniture," — ^where the sun strikes down with parching heat, or the wind sweeps over with unbroken fury, and they may perhaps estimate, by contrast, their beauty and value.
We are not now to enumerate the great usefulness of trees, — their value in the construction of our habitations, our navies, the various implements of labour, — in short, the thousand associations which they suggest as ministering to our daily wants ; but let us imagine the loveliest scene, the wildest landscape, or the most enchanting valley, despoiled of trees, and we shall find nature shorn of her fair proportions, and the character and expression of these favourite spots almost entirely destroyed.
Wood, in its many shapes, is then one of the great sources of interest and character in Landscapes. Variety, which we need scarcely allude to as a fertile source of beauty, is created in a wonderful degree by a natural arrangement of trees. To a pile of buildings, or even of ruins, to a group of rocks, or animals, they communicate new life and spirit by their irregular outlines, which, by partially concealing
68 LANDSCAPE GARDENING.
some portions, and throwing others into stronger Ught, con- tribute greatly to produce intricacy and variety, and con- fer an expression, which, without these latter qualities, might in a great measure be wanting. By shutting out some parts, and enclosing others, they divide the extent embraced by the eye, into a hundred different landscapes, instead of one tame scene bounded by the horizon.
The different seasons of the year, too, are inseparably con- nected in our muids with the effects produced by them on woodland scenery. Spring is joyous and enlivening to us, as nature then puts on her fresh lively of green and the trees bud and blossom with a renewed beauty, that speaks with a mute and gentle eloquence to the heart. In summer they fFer us a grateful shelter under their umbrageous arms and leafy branches, and whisper unwritten music to the passing breeze : in autumn we feel a melancholy thoughtfulness as
" We stand among the fallen leaves,"
and gaze upon their dying glories. And in winter we see in them the silent rest of natiu-e, and behold in their leaf- less spray, and seemingly dead limbs, an annual type of that deeper mystery — the deathless sleep of all being.
By the judicious employment of trees in the embellishment of a country residence, we may effect the greatest alterations and improvements within the scope of Landscape Gardening. Buildings which are tame, insipid, or even mean in appear- ance, may be made interestmg, and often picturesque, by a proper disposition of trees. Edifices, or parts of them that are unsightly, or which it is desirable partly or wholly to con- ceal, can readily be hidden or improved by wood ; and walks and roads, which otherwise would be but simple ways of ap- proach from one point to another, are, by an elegant arrange-
ON WOOD AND PLANTATIONS. 69
merit of trees on their margins, or adjacent to them, made the most interesting and pleasing portions of the residence.
In Geometric gardening, trees disposed in formal lines, ex- hibit as strongly art, or design, in the contriver, as regular architectural edifices ; while, in a more elevated and enlight- ened taste, we are able to dispose them in our pleasure-grounds and parks, around our houses, in all the variety of groups, masses, thicket, and single trees, in such a manner as to rival the most beautiful scenery of general nature ; producing a portion of landscape, which unites with all the comforts and conveniences of rural habitation, the superiour charm of refined arrangement, and natural beauty of expression.
If it were necessary to present any other inducement to the country gentleman to form plantations of trees, than the great beauty and value which they add to his estate, we might find it in the pleasure which all derive from their cultivation. Unlike the pleasure arising from the gratification of our taste in architecture, or any other of the arts whose productions are otfered to us perfect and complete, the satisfaction arising from planting and rearing trees is never weakened. " We look," says a writer, " upon our trees as our offspring ; and nothing of inanimate nature can be more gratifying than to see them grow and prosper under our care and attention, — nothing more interesting than to examine their progress, and mark their several peculiarities. In their progress from plants to trees, they every year unfold new and characteristic marks of their ultimate beauty, which not only compensate for past cares and troubles, but like the returns of gratitude, raise a most delightful tram of sensations in the mind ; so innocent and rational, that they may justly rank with the most exqui- site of human enjoyments."
70 LANDSCAPE GARDENING.
" Happy is he, who in a country life Shuns more perplexing toil and jarring strife ; Who lives upon the natal soil he loves, And sits beneath his old ancestral groves."
To this, let us add the complacent feelings, with which a man in old age, may look around him and behold these leafy mon- archs, planted by his boyish hands, and nursed by him in his youthful years, which have grown aged and venerable along with him ;
" A wood coeval vdth himself he sees, And loves his own contemporary trees."
Plantations in the Ancient Style. In the ar- rangement and culture of trees and plants in the ancient style of Landscape Gardening, we discover the evidences of the formal taste, — abounding with eveiy possible variety of quaint conceits, and rife with whimsical expedients, so much in fashion during the days of Henry and Eliza- beth, and mitil the eighteenth century in England, and which is still the reigning mode in Holland, and parts of France. In these gardens, natm-e was tamed and subdued, or as some critics will have it, tortured into every shape which the ingenuity of the gardener could suggest ; and such kinds of vegetation as bore the shears most patiently, and when carefully trimmed, assumed gradually the appearance of verdant statues, pyramids, crowing cocks, and rampant lions, were the especial favourites of the gardeners of the old school.* The stately etiquette, and courtly precision of the manners of our English ancestors, extended into their gardens,
*The unique ideal of the " Garden of Eden," by one of the old Dutch painters, with sheared hedges, formal alleys, and geometric plots of flowers, for the entertainment of our first parents, is, doubtless, familiar to our readers.
ON WOOD AND PLANTATIONS. 71
and was reflected back by the very trees which lined their avenues, and the shrubs which surrounded their houses. " Nonsuch, Theobalds, Greenwich, Hampton Court, Hatfield, Moor-Park, Chatsworth, Beaconsfield, Cashiobury, Ham, and many another," says William Howitt, " stood in all that stately formality which Henry and Elizabeth admired ; and in which our Surrys, Leicesters, Essexes, the splendid nobles of the Tudor dynasty, the gay ladies and gallants of Charles H.'s court, had walked and talked, — fluttering in glittering processions, or flirting in green alleys and bowers of topiary work, and amid figures, in lead or stone, fountains, cascades, -^ copper-trees dropping sudden showers on the astonished pas- sers under, stately terraces with gilded balustrades, and cu- rious quincunx, obelisks, and pyramids ; — fitting objects of admiration of those who Avalked in high heeled shoes, rufls and fardingales, with fan in hand, or in trunk hose and laced doublet."
Symmetrical uniformity governed, with despotic power, even the trees and foliage, in the ancient style. In the more simple country residences, the plantations were al- ways arranged in some regular lines or geometrical figures. Long parallel rows of trees were planted, for groves and avenues, along the principal roads and walks. The greatest care was taken to avoid any appearance of irregularity. A tree upon one side of the house, was opposed by another vis a vis, and a row of trees at the right of the mansion had its always accompanying row on the left : or, as Pope in his Satire has more rythmically expressed it — «
Grove nods at grove, each alley has its brother, And half the platform just reflects the other.
In the interior of the park, the plantations were generally
72
LANDSCAPE GARDENING.
disposed, either in straight avenues crossing each other, or clumped in the form of circles, stars, squares, etc. ; and long vistas were obtained through the avenues divaricating from the house in various directions, over level surfaces. One of the favourite fancies of the geometric gardener, was the La- byrinth, (fig. 14,) of which a few celebrated examples are still in existence in England, and which consisted of a multitude of trees thickly planted in impervious hedges, covering some- times several acres of ground. These labyrinths were the source of much amusement to the family and guests, the trial of skill being to find the centre, and from that point to re- turn again without assistance ; and we are told by a historian of the garden of that period, that " the stranger having once entered, was sorely puzzled to get out."
[Pig. 14. A Labyrinth.]
Since the days when these gardens were in their glory the taste in Landscape Gardening has undergone a great change. The graceful, and the pictulresque, are the new elements of beauty, which, entering into the composition of our gardens and home landscapes, have, to refined minds, in- creased a hundred fold the enjoyment derived from this spe- cies of rural scenery. Still, there is much to admire in the ancient style. Its long and majestic avenues, the wide-
ON WOOD AND PLANTATIONS. 73
Spreading branches interlacing over our heads, and forming long, shadowy aisles, are, themselves alone, among the noblest and most imposing sylvan objects. Even the formal and cu- riously knotted gardens, are interesting, from the pleasing as- sociations which they suggest to the mind, as having been the favourite haunts of Shakspeare, Bacon, Spenser, and Milton. They are so inseparably comiected, too, in our imaginations, with the quaint architecture of that era, that wherever that style of building is adopted, (and we observe several examples already among us,) this style of gardening may be considered as highly appropriate, and in excellent keeping with such a country house.
It has been remarked, that the geometric style would al- ways be preferred in a new country, or in any country where the amount of land under cultivation is much less than that covered with natural woods and forests ; as the inhabitants being surrounded by scenery abounding with natural beauty, would always incline to lay out their gardens and pleasure- grounds in regular forms, because the distinct exhibition of art would give more pleasure by contrast, than the ele- gant imitation of beautiful nature. That this is true as regards the mass of micultivated minds, we do not deny. But at the same time we affirm that it evinces a meagre taste, and a lower state of the art, or a lower perception of beauty in the individual who employs the geometrical style in such cases. A person, whose place is surrounded by inimitably grand, or sublime scenery, would undoubtedly fail to excite our admiration, by attempting a fac-simile imitation of such scenery, on the small scale of a park or garden ; but he is not, therefore, obliged to resort to right-lined plantations, and regu- lar grass plots, to produce something Vvrhich shall be, at once sufficiently different to attract notice, and so beautiful as to
10
74 LANDSCAPE GARDENING.
command admiration. All that it would be requisite for him to do in such a case, would be to employ rare and foreign orna- mental trees ; as for example, 'the horse-chestnut and the linden, in situations where the maple and the sycamore are the principal trees, — elegant flowering shrubs and beautiful creepers, instead of sumacs and hazels,^ — and to have his place kept in high and polished order, instead of the tangled wildness of general nature.
On the contrary, were a person to desire a residence newly laid out and planted, in a district where all around is in a high state of polished cultivation, as in the suburbs of a city, a spe- cies of pleasure would result from the imitation of scenery of a more spirited natural character, — as the picturesque, — in his grounds. His plantations are made in irregular groups, composed chiefly of picturesque trees, as the larch, the oak, etc. — his walks would lead through varied scenes, sometimes bordered with groups of rocks overrun with flowering creepers and vines ; sometimes with thickets or little copses of shrubs and flowering plants ; sometimes through wild and, comparatively, neglected portions ; the whole interspersed with open glades of turf.
In the majority of instances in the United States, the mo- dern style of Landscape Gardening, wherever it is appreci- ated, will, in practice, consist in arranging a demesne of from five to some hundred acres, — or rather that portion of it, say one half, one third, etc., devoted to lawn and pleasure- ground, pasture, etc., — so as to exhibit groups of forest and ornamental trees and shrubs, surrounding the dwelling of the proprietor, and extending for a greater or less distance, especially towards the place of entrance from the public highway. Near the house, good taste will dictate the assemblage of groups and masses of the rarer or more beau-
ON WOOD AND PLANTATIONS. 76
tifiil trees and shrubs ; commoner native forest trees occupy- ing the more distant portions of the grounds,*
Plantations in the Modern Style. In the Modern Style of Landscape Gardening, it is our aim, in plantations, to produce not only what is called natural beauty, but even higher and more striking beauty of expression, and of individual forms, than we see in nature ; to create variety, and intricacy, in the groimds of a residence, by various modes of arrangement ; to give a highly elegant, or polished air to places by introducing rare and foreign species ; and to conceal all defects of surface, disagreeable views, unsightly buildings, or other offensive objects.
As uniformity, and grandeur of single effects, were the aim of the old style of arrangement, so variety, and harmony of the whole, are the results for which we labour in the mo- dern landscape. And, as the Avenue, or Ihe straight line, is the leading form in the geometric arrangement of plantations, so let us enforce it upon our readers, the Group, is equally the key-note of the Modern style. The smallest place, having
* Although we love planting, and avow that there are few greater pleasures than] to see a darling tree, of one's own placing, every year stretching wider its feathery head of foliage, and covering with a darker shadow the soft turf beneath it, still, we will not let the ardent and inexperienced hunter after a location for a country residence, pass without a word of advice. This is, always to make consider- able sacrifice to get a place with some existing wood, or a few ready grown trees upon it ; especially near the site for the house. It is better to yield a little in the ex- tent of prospect, or in the direct proximity to a certain locality, than to pitch your tent in a plain, — desert-like in its bareness — on which your leafy sensibilities must suffer, for half a dozen years at least, before you can hope for any solace. It is doubtful whether there is not almost as much interest in studying from one's window the curious ramifications, the variety of form, and the entire harmony, to be found in a fine old tree, as in gazing from a site where we have no interruption to a panorama of the whole horizon ; and we have generally found that no planters have so little courage and faith, as those who have commenced without the smallest group of large trees, as a nucleus for their plantations.
76 LANDSCAPE GARDENING.
only three trees, may have these pleasingly connected in a group ; and the largest and finest park — the Blenheim or Chatsworth, of seven miles square, is only composed of a succession of groups, becoming masses — thickets — woods. If a demesne with the most beautiful surface and views, has been for some time stiffly and awkardly planted, it is ex- ceedingly difficult to give it a natural and agreeable air ; while many a tame level, with scarcely a glimpse of distance, has been rendered lovely by its charming groups of trees. How necessary therefore, is it, in Ihe veiy outset, that the novice, before he begins to plant^ should know how to arrange a tasteful group.
Nothing, at first thought, would appear easier, than to ar- range a few trees in the form of a natural and beautiful group, — and nothing really is easier to the practised hand. Yet ex- perience has taught us that the generality of persons, m commencing their first essays in ornamental planting, almost invariably crowd their trees into a close, regular cluTnp, which has a most formal and unsightly appearance, as different as possible from the easy flowing outline of the group.*
* A friend of ours, at Northampton, who is a most zealous planter, related to us a diverting expedient to which he was obliged to resort, in order to ensure irregular groups. Busily engaged in arranging plantations of young trees on his lawn, he was hastily obliged to leave home, and entrust the planting of the groups to some common garden labourers, whose ideas he could not raise to a point suffi- ciently high to appreciate any beauty in plantations, unless made in regular forms, and straight lines. " Being well aware," says our friend, " that if left to them- selves I should find all my trees, on my return, in hollow squares or circular clumps, I hastily threw up a peck of potatoes into the air, one by one, and directed my workmen to plant a tree where every potatoe fell ! Thus, if I did not attain the maximum of beauty in grouping, I at least had something not so offensive as geometrical figures."
ON WOOD AND PLANTATIONS. 77
" Were it made the object of study," says Price, " how to invent something, which, under the name of ornament, should disfigure a whole park, nothing could be contrived to answer that purpose like a Sr clump. Natural groups, being formed by trees of different ages and sizes, and at different distances from each other, often too by a mixture of those of the largest size with others of inferior growth, are full of variety in their out- lines ; and from the same causes, no two groups are exactly alike. But clumps, from the trees being generally of the same age and growth, from their being planted nearly at the same distance, in a circular form, and from each tree being equally pressed by his neighbour, are as like each other, as so many puddings turned out of one common mould. Natural groups are full of openings and hollows, of trees advancing before, or retiring behind each other ; all productive of intricacy, of va- riety, of deep shadows and brilliant lights : in walking about them the form changes at every step ; new combinations, new lights and shades, new inlets present themselves in succession. But clumps^ like compact bodies of soldiers, resist attacks from all quarters ; examine them in every point of view ; walk round and round them ; no opening, no vacancy, no strag- glers ; but in the true military character, Us sont face par- tout r*
The chief care, then, which is necessary in the formation
* Those who peruse Price's " Essay on the Picturesque," cannot fail to be entertained with the vigour with wiiich he advocates the picturesque, and attacks the clumping method of laying out grounds, so much practised in Eng- land, on the first introduction of the modem style. Brown, was the great prac- titioner at that time, and his favourite mode seems to have been to cover the whole surface of the grounds with an unmeaning assemblage of round, bunchy clumps.
78 LANDSCAPE GARDENING.
of groups, is, 7iot to place them in any regular or artificial manner,— as one at each corner of at riangle, square, octagon, or other many-sided figure ; but so to dispose them, as that the whole may exhibit the variety, connection, and intricacy seen in nature. " The greatest beauty of a group of trees," says Loudon, " as far as respects their stems, is in the varied direction these take as they grow into trees ; but as that is, for all practical purposes, beyond the influence of art, all we can do, is to vary as much as possible the ground plan of groups, or the relative positions which the stems have to each other where they spring frotn the earth. This is consider- able, even where a very few trees are used, of which any person may convince himself by placing a few dots on paper. Thus two trees, (fig. 15,) or a tree and shrub, which is the smallest group, (a), may be placed in three difierent positions
[Fig. 15. Grouping of Trees.]
ON WOOD AND PLANTATIONS. 79
with reference to a spectator in a fixed point ; if he moves round them, they will first vary in form separately, and next unite in one or two groups, according to the position of the spectator. In like manner, three trees may be placed in four different positions ; four trees may be placed in eight different positiont [b] ; five trees may be grouped in ten different ways, as to ground plan ; six may be placed in twelve different ways (c), and so on." {Encyclopo&dia of Gard.)
In the composition of larger masses, similar rules must be observed as in the smaller groups, in order to prevent them from growing up in heavy clumpish forms. The outline must be flowing, here projecting out into the grass, there rece- ding back into the plantation, in order to take off all appear- ance of stiffness and regularity. Trees of medium and smaller size should be so interspersed with those of larger growth, as to break up all formal sweeps in the line produced by the tops of their summits, and, occasionally, low trees should be planted on the outer edge of the mass, to connect it with the humble verdure of the surrounding sward.
In many parts of the union, where new residences are being formed, or where old ones are to be improved, the grounds will often be found, partially, or to a considerable extent, clothed with belts or masses of wood, either previously plant- ed, or preserved from the woodman's axe. How easily we may turn these to advantage in the natural style of Landscape Gardening ; and by judicious trimming when too thick, or additions when too much scattered, elicit often the happiest effects, in a magical manner ! In the accompanying sketch, (fig. 16,) the reader will recognize a portrait of a hundred familiar examples, existing with us, of the places of persons of considerable means and intelligence, where the house is
80
LANDSCAPE GARDENING.
7 ill
[Fig. 16. View of a Country Residence, as frequently seen.]
not less meagre than the stiff approach leading to it, border- ed with a formal belt of trees. The succeeding sketch, (fig. 17), exhibits this place as improved agreeably to the principles of modern Landscape Gardening, not only in the plantations, but in the house, — ^which appears tastefully alter- ed from a plain unmeaning parallelogram, to a simple, old Englishcottage, — and in the more graceful approach. Effects like these, are within the reach of very moderate means, and are peculiarly worth attention in this country, where so much has already been partially, and often badly executed.
[Fig. 17. View of the same Residence, improved.]
Where there are large masses of wood to regulate and ar- range, much skill, taste and judgment, are requisite, to enable the proprietors tojpreserve only what is really beautiful and
ON WOOD AND PLANTATIONS. 81
picturesque, and to remove all that is superfluous. Most of our native woods, too, have grown so closely, and the trees are consequently so much drawn up, that should the improver thin out any portion, at once, to single trees, he will be greatly disappointed if he expects them to stand long ; for the first severe autumnal gale will almost certainly prostrate them. The only method, therefore, is to allow them to re- main in groups of considerable size at first, and to thin them out as is finally desired, when they have made stronger roots and become more inured to the influence of the sun and air.*
But to return to grouping ; what we have already en- deavoured to render familiar to the reader, may be called grouping in its simple meaning — for general effect, and with an eye only to the natural beauty of pleasing forms. Let us now explain, as concisely as we may, the mode of grouping in the two schools in Landscape Gardening here- tofore defined ; that is to say, grouping and planting for Graceful effect, and for Picturesque effect, — as we wish it un- derstood that these two different expressions, in artificial landscape, are always, to a certain extent, under our control.
Planting and Grouping in the Graceful School. The elementary principles in this school, our readers will remember to be fulness and softness of outline, and perfectly luxuriant development. To insure these in plantations, we must commence by choosing, mainly, trees of graceful habit, and flowing outlines ; and of this class of trees, hereafter more fully illustrated, the American elm, and the maple
* When, in thinning woods in this manner, those left standing have a meagre appearance, a luxuriant growth may be promoted by the application of manure plentifully dug in about the roots. This will also, by causing an abundant growth of new roots, strengthen the trees in their position.
11
82
LANDSCAPE GARDENING.
may be taken as the type. Next, in disposing them, they must usually be planted rather distant in the groups, and often singly. We do not mean by this, that close groups may not occasionally be formed, but there should be a predominance of trees grouped at such a distance from each other, as to allow a full development of the branches on every side. Or, when a close group is planted, the trees composing it, should be usually of the same or a similar kind, in order that they may grow up together and form one finely rounded head. Rich creepers, and blossoming vines, that grow in fine luxuriant wreaths and masses, are fit accompaniments to occasional groups in this manner. Fig. 18, represents a plan of trees grouped along a road or walk, in the Graceful mode.
[Fig. 18. Grouping in the Graceful mode.]
It is proper that we should here remark, that a distinct species of after treatment is required for the two modes. Trees, or groups, in the Graceful school, should be pruned with great care, and indeed, scarcely at all, except to
ON WOOD AND PLANTATIONS.
83
remedy disease, or to correct a bad form. Above all, the fiill luxuriance and development of the tree should be en- couraged by good soil, and repeated manurings when necessary ; and that most expressively elegant fall and droop of the branches, which so entirely belongs to the Graceful school, should never be warred against by any trimming of the lower branches, which must also be care- fully preserved against cattle, whose browsing line^ would soon efface this most beautiful disposition in some of our fine lawn trees. Clean smooth stems, fresh and tender bark, and a softly rounded, pyramidal or drooping head, are the characteristics of a graceful tree. We need not add that gently slopmg ground, or surfaces rolling in easy undula- tions, should accompany such plantations.
Planting and grouping in the Picturesque school. All trees are admissible in a picturesque place, but a predominance must be used by the planter, of what are truly called picturesque trees, of which the larch and fir tribe, and the oak, may be taken as examples. In the
[Fig. 19. Grouplug in the Picturesque mode.]
Picturesque school, every thing depends on intricacy, and
84 LANDSCAPE GARDENING.
irregularity, and grouping, therefore, must often be done* in the most irregular manner — rarely, if ever, with single specimens, as every object should seem to connect itself with something else — but most frequently there should be irregular groups, occasionally running into thickets, and always, more or less, touching each other ; trusting to after time for any thinning, should it be necessary. Fig. 19, may, as compared with fig. 18, give an idea of picturesque grouping.
There should be more of the wildness of the finest and most forcible portions of natural woods or forests, in the disposition of the trees ; sometimes, planting them closely, even two or three in the same hole, at others, more loose and scattered. These will grow up into wilder and more striking forms, the barks will be deeply furrowed and rough, the limbs twisted and irregular, and the forms and outlines distinctly varied. They should often be intermixed with smaller undergrowth of similar character, as the hazel, hawthorn, etc., and formed into such picturesque and strik- ing groups, as painters love to study and introduce into their pictures. Sturdy and bright vines, or such as are themselves picturesque in their festoons and hangings, should be allowed to clamber over occasional trees in a neg- ligent manner ; and the surface and grass, in parts of the scene not immediately in the neighbourhood of the mansion, may be kept short by the cropping of animals, or allowed to grow in a more careless and loose state, like that of tangled dells, and natural woods.
There will be the same open glades in picturesque, as in graceful plantations ; but these openings, in the former, will be bounded by groups and thickets of every form, and of different degrees of intricacy, while in the latter, the
ON WOOD AND PLANTATIONS. 85
eye will repose on softly rounded masses of foliage, or single open groups of trees, with finely balanced, and graceful heads and branches.
In order to know how a plantation in the picturesque mode should be treated, after it is established, we should reflect a moment on what constitutes picturesqueness in any tree. This will be found to consist, either in a certain natural roughness of bark, or wildness of form and outline, or, in some accidental curve of a branch, of striking manner of growth, or perhaps, of both these conjoined. A broken or crooked limb, a leaning trunk, or several stems springing from the same base, are, frequently, peculiarities that at once stamp a tree as picturesque. Hence, it is easy to see, that the excessive care of the cultivator of trees in the graceful school, to obtain the smoothest trunks, and the most sweeping, perfect, and luxuriant heads of foliage, is quite the opposite of what is the picturesque arboricul- turist's ambition. He desires to encourage a certain wild- ness of growth, and allows his trees to spring up occasion- ally in thickets, to assist this effect ; he delights in occasional irregularity of stem and outline, and he therefore suffers his trees, here and there, to crowd each other ; he admires a twisted limb, or a moss covered branch, and in pruning, he, therefore, is careful to leave, precisely what it would be the aim of the other to remove ; and his pruning, where it is at all necessaiy, is directed rather towards increasing the na- rually striking and peculiar habit of the picturesque tree, than assisting it in developing a form of unusual refine- ment and symmetry. From these remarks, we think the amateur will easily divine, that planting, grouping, and culture in the Graceful, requires a much less educated feeling, than performing the same operations in the Pictu-
86 LANDSCAPE GARDENING.
resque school. The charm of a refined and poUshed land- scape garden, as we usually see it in the graceful mode, with all the richness and beauty, developed by high cul- ture— lovely and enchanting as it is, and always must be — this charm, we say, is, notwithstanding, always immediately referred, very properly, to a certain perfection of groAvth, arising, mainly, from the superior care and cultivation which is bestowed on every object within our sight.
But in the Picturesque landscape garden, there is visible, a piquancy of effect — certain bold and striking growths and combinations, which we feel, at once, if we know them to be the result of art, to be the production of a peculiar species of attention — not merely good, or even refined, ornamental gardening. In short, no one can be a pictu- resque improver who is not, himself, something of an artist — who has not studied nature with an artistical eye — and who is not capable of imitating, eliciting, or heightening, in his plantations, or other portions of his residence, the pictu- resque in its many variations. And we may add here, that efii- cient and charming as is the assistance, which all ornamental planters will derive from the study of the best landscape en- gravings and pictures of distinguished artists, they are indispensably necessary to the picturesque improver. In these he will often find embodied the choicest and most captivating studies from picturesque nature, and will see, at a glance, the effect of certain combinations of trees, which he might otherwise puzzle himself a dozen years to know how to produce.
After all, as the picturesque improver, here, will most generally be found to be him who chooses a comparatively wild and wooded place, we may safely say that, if he has the true feeling for his work, he will always find it vastly
ON WOOD AND PLANTATIONS. 87
easier than the graceful improver ; as the majority of the latter may be said to begin nearly anew — choosing places not for wildness, and intricacy of wood, but for open- ness, and the smiling, sunny, undulating plain, where they must, of course, to a good extent, plant anew.
After becoming well acquainted with grouping, we should bring ourselves to regard those principles which govern our improvement as a whole. We therefore must call the attention of the improver to the two following principles, which are to be constantly in view : the produc- tion of a whole ; and the proper connection of the jjarts.
Any person who will take the trouble to reflect for a mo- ment, on the great diversity of surface, change of position, aspects, views, etc., in different country residences, will at once perceive how difficult, or, indeed, how impossible it is, to lay down any fixed or exact rules for arranging planta- tions, in the modern style. What would be precisely adapted to a hilly rolling park, would often be found entirely unfit for adoption in a smooth, level surface, and the contrary. Indeed, the chief beauty of the modern style is the variety produced by following a few leading principles, and applying them to different and varied localities ; imlike the geometric style, which proceeded to level, and arrange, and erect its avenues and squares, alike in every situation, with all the precision and certainty of mathematical demonstra- tion.
In all grounds to be laid out, however, which are of a lawn or park-like extent, and call for the exercise of judgment and taste, the mansion or dwelling-house, being itself the chief, or leading object in the scene, should form, as it were, the cen- tral point, to which it should be the object of the planter to give importance. In order to do this effectually, the large
88 LANDSCAPE GARDENING.
masses, or groups of wood, should cluster round, or form the back-ground to the main edifice ; and where the offices or out- buildings approach the same neighbourhood, they also should be embraced. We do not mean, by this, to convey the idea, that a thick wood should be planted around and in the close neighbourhood of the mansion or villa, so as to impede the free circulation of air ; but its appearance and advantages may be easily produced by a comparatively loose plantation of groups well connectd by intermediate trees, so as to give all the effect of a large mass. The front, and at least that side nearest the approach road, will be left open or nearly so ; while the plantations on the hack-ground will give dignity and importance to the house, and at the same time effectually screen the approach to the farm buildings, and other objects which require to be kept out of view ; and here, both for the purposes of shelter, and richness of effect, a good proportion of evergreens should be introduced.
From this principal mass, the plantations must break off" in groups of greater or less size, corresponding to the extent covered by it ; — if large, they will diverge into masses of con- siderable magnitude ; if of moderate size, in groups made up of a number of trees. In the lawn front of the house, appro- priate places will be found for a number of the most elegant single trees, or small groups of trees, remarkable for the beau- ty of their forms, foliage, or blossoms. Care must be taken, however, in disposing these, as well as many of the groups, that they are not placed so as, at some future time, to inter- rupt or disturb the finest points of prospect.
In more distant parts of the plantations will also appear masses of considerable extent, perhaps upon the boundary line, perhaps in particular situations on the sides, or in the interior of the whole ; and the various groups which are dis-
ON WOOD AND PLANTATIONS. 89
tribiited between, should be so managed as, though in most cases distinct, yet to appear to be the connecting Hnks which unite these distant shadows in the composition, with the larger masses near the house. Sometimes several small groups will be almost joined together ; at others the effect may be kept up by a small group, aided by a few neighbour- ing single trees. This, for a park-like place. Where the place is small, a pleasm-e-ground character is all that can be attained. But by employing chiefly shrubs, and only a few trees, very similar and highly beautiful effects may be attained.
The grand object in all this, should be to open to the eye, from the windows or front of the house, a wide surface, par- tially broken up and divided, by groups and masses of trees, into a number of pleasing lawns or openings, differing in size and appearance, and producing a charming variety in the scene, either when seen from a given point, or when exam- ined in detail. It must not be forgotten that, as a general rule, the grass or surface of the lawn answers as the princi- pal light, and the woods or plantations as the shadows, in the same manner in nature as in painting, and that these should be so managed as to lead the eye to the mansion as the most important object when seen from without, or corres" pond to it in grandeur and magnitude, when looked upon from within the house. If the surface is too much crowded with groups of foliage, breadth of light will be found want- ing ; if left too bare, there will be felt, on the other hand an absence of the noble effect of deep and broad shadows.
One of the loveliest charms of a fine park is, undoubtedly, variation or undulation of surface. Every thing, accordingly, which tends to preserve and strengthen this pleasing charac- ter, should be kept constantly in view. Where, therefore^
12
90 LANDSCAPE GARDENING,
there are no obvious objections to such a course, the em- inences, gentle swells, or hills, should be planted, in preference to the hollows or depressions. By planting the elevated portions of the grounds, their apparent height is increased ; but by planting the hollows, all distinction is lessened and broken up. Indeed, where there is but a trifling and scarcely perceptible undulation, the importance of the swells of surface already existing is surprisingly increased, when this course of planting is adopted ; and the whole, to the eye, appears finely varied.
Where the grounds of the residence to be planted are level, or nearly so, and it is desirable to confine the view, on any or all sides, to the lawn or park itself, the boundary groups and masses must be so connected together as, from the most striking part or parts of the prospect, (near the house for ex- ample,) to answer this end. This should be done, not by planting a continuous, uniformly thick belt of trees round the outside of the whole ; but by so arranging the various outer groups and thickets, that when seen from the given points, they shall appear connected in one whole. In this way, there will be an agreeable variation in the margin, made by the various bays, recesses, and detached projections, which could not be so well effected, if the whole were one uniformly unbroken strip of wood.
But where the house is so elevated as to command a more extensive view than is comprised in the demesne itself, another course should be adopted. The grounds planted must be made to connect themselves with the surrounding scenery, so as not to produce any violent contrast to the eye, when compared with the adjoining country. If then, as is most frequently the case, the lawn or pleasure-ground join, on either side or sides, cultivated farm lands, the proper connec-
ON WOOD AND PLANTATIONS. 01
tion may be kept up by advancing a few groups, or even scattered trees, into the neighbouring fields. In the middle states, there are but few cultivated fields, even in ordinary farms, where there is not to be seen, here and there, a hand- some cluster of saplings, or a few full grown trees ; or if not these, at least some tall growing bushes along the fences, all of which, by a little exercise of this leading principle of con- nection, can, by the planter of taste, be made to appear, with few or trifling additions, to divaricate from, and ramble out of the park itself. Where the park joins natural woods, con- nection is still easier, and where it bounds upon one of our noble rivers, lakes, or other large sheets of water, of course comiection is not expected ; for sudden contrast and transition is there both natural and beautiful.
In all cases, good taste will suggest that the more polished parts of the lawns and grounds should, in either school of improvement, be those nearest the house. There, the most rare and beautiful sorts of trees are displayed, and the entire plantations agree, in elegance, with the style of art evinced in the mansion itself. When there is much extent, however, as the eye wanders from the neighbourhood of the re- sidence, the whole evinces less polish ; and gradually, towards the farthest extremities, grows ruder, mitil it assimi- lates itself to the wildness of general nature around. This, of course, applies to grounds of large extent, and must not be so much enforced where the lawn embraced is but mo- derate, and therefore comes more directly under the eye.
It will be remembered that in the foregoing section, we stated it as one of the leading principles of the art of Land- scape Gardening, that in every instance where the grounds of a country residence have a marked natural character, whether of graceful or picturesque beauty, the eiforts of
92 LANDSCAPE GARDENING.
he improver will be most successful, if he contributes, by his art, to aid and strengthen that expression. This should ever be borne in mind, when we are commencing any im- provements in planting that will affect the general expression of the scene ; as there are but few country residences in the United States, of any importance, which have not naturally some distinct landscape character, and the labours of the im- prover will be productive of much greater satisfaction, and more lasting pleasure, when they aim at effects in keeping with the whole scene, than if no regard be paid to this im- portant point. This will be felt, almost intuitively, by per- sons who, perhaps, would themselves be incapable of describing the cause of their gratification, but would per- ceive the contrary at once ; as many are unable to analyze the pleasure derived from harmony in music, while they at once perceive the introduction of discordant notes.
We do not intend that this principle should apply so close- ly, that grounds naturally picturesque, shall have nothing of the softening touches of general beauty ; or that a demesne characterized by the latter expression should not be occasion- ally enlivened with a few " smart touches'^ of the former. This is often necessary, indeed, to prevent tame scenery from degenerating into insipidity, — or picturesque, into wildness, too great to be appropriated in a country residence. Pictu- resque trees give new spirit to groups of merely beautiful ones, and the latter sometimes heighten by contrast the value of the former. All of which, however, does not prevent the 'predominance of the leading features of either style, suffi- ciently strong to mark it as such ; while, occasionally, some- thing of zest, or elegance, may be borrowed from the opposite character, to suit the wishes, or gratify the taste of the pro- prietor.
on wood and plantations. 93
Ground plans of ornamental plantations. To illustrate, partially, our ideas on the arrangement of planta- tions, we place before the reader two or three examples, premising, that the small scale to which they are reduced, prevents our giving to them any character beyond that of the general one of the design. The first, (fig. 20,) represents a portion, say one-third or one-half, of a piece of property selected for a country seat, and which has hitherto been kept in tillage, as ordinary farm land. The public road, a, is the boundary on one side : dd are prettily wooded dells or hollows, which, together with a few groups near the pro- posed site of the house, c, and a few scattered single trees, make up the aggregate of the original woody embellish- ments of the locality.
In the next figure, (fig. 21,) a ground plan of the place is given, as it would appear, after having been judiciously laid out and planted, with several years growth. At a, the ap proach road leaves the public highway, and leads to the house at c ; from whence, paths of smaller size, b, make the circuit of the ornamental portion of the residence, taking ad- vantage of the wooded dells, d, originally existing, which offer some scope for varied walks, concealed from each other by the intervening masses of thicket. It will be seen here, that one of the largest masses of wood forms a back ground to the house, concealing, also, the out-buildings ; while, from the windows of the mansion itself, the trees are so arranged as to group in the most pleasing and effective manner ; at the same time, broad masses of turf meet the eye, and fine dis- tant views are had through the vistas in the lines, e e. In this manner, the lawn appears divided into four distinct lawns or areas, bomided by groups of trees, instead of being dotted over with an unmeaning confusion of irregular
94
LANDSCAPE GARDKNING.
[Fig. 20. Plan of a commoD Farm, before any improvements.]
masses of foliage. The form of these areas varies, also, with every change of position in the spectator, as seen from differ- ent portions of the gromids, or different points in the walks ; and they, can be still further varied, at pleasm-e, by adding more single trees, or small groups, which should always, to produce variety of outline, be placed opposite the salient parts of the wood, and not in the recesses, which latter they would appear to diminish or clog up. The stables are shown at/; the barn g ; and the kitchen garden adjacent at h ; the or- chard at i ; and a small portion of the farm lands at k ; a back entrance to the out-buildings is shown in the rear of the orchard. The plan has been given for a place of seventy acres, thirty of which include the pleasure-grounds, and forty the adjoining farm lands.
ON WOOD AND PLANTATIONS.
95
'■liii ii iiijli
I Ml 1 I I I III'.
[Fig. 21. Plan of the foregoing grounds as a Country Seat, after ten years' improvement.!
Figure 22, is the plan of an American mansion residence of considerable extent, only part of the farm lands, I, being here delineated. In this residence, as there is no extensive view, worth preserving, beyond the bounds of the estate, the pleasure grounds are surrounded by an irregular and picturesque belt of wood. A fine natural stream or rivu- let, which ran through the estate, has been formed into a hand- some pond, or small lake, /, which adds much to the interest of the grounds. The approach road breaks off from the high- way at the entrance lodge, a, and proceeds in easy curves to the mansion, b ; and the groups of trees on the side of this approach nearest the house, are so arranged that the visiter scarcely obtains more than a glimpse of the latter, until he
96
LANDSCAPE GARDENING.
[Fig. 22- Plan of a Mansiou Residence, laid out in tlje natural style.]
arrives at the most favourable position for a first impression. From the windows of the mansion, at either end, the eye ranges over groups of flowers and shrubs ; while, on the en- trance front, the trees are arranged so as to heighten the natural expression originally existing there. On the other front, the broad mass of light reflected from the green turf at A, is balanced by the dark shadows of the picturesque plantations which surround the lake, and skirt the whole boundary. M i, a- light, inconspicuous wire fence separates
ON WOOD AND PLANTATIONS. 97
that portion of the ground, g, ornamented with flowering shrubs, and kept mown by the scythe, from the remainder, of a park-hke character, which is kept short by the cropping of animals. At c, are shown the stables, carriage house, etc., which, though near the approach road, are concealed by fo- liage, though easily accessible by a short curved road, re- turning from the house, so as not to present any road lead- ing in the same direction, to detract from the dignity of the approach in going to it. A prospect tower, or rustic pavilion, on a little eminence overlooking the whole estate, is shown at 7*. The small arabesque beds near the house, are filled with masses of choice flowering shrubs and plants ; the kitchen garden is shown at d, and the orchard at e.
Suburban villa residences are, every day, becoming more numerous ; and in laying out the grounds around them, and disposing the sylvan features, there is often more ingenuity, and as much taste required, as in treating a country residence of several hundi-ed acres. In the small area of from one half an acre to ten or twelve acres, surrounding often a villa of the first class, it is desirable to assemble many of the same features, and as much as possible of the enjoyment, which are to be found in a large and elegant estate. To do this, the space allotted to various purposes, as the kitchen garden, lawn, etc., must be judiciously portioned out, and so charac- terized and divided by plantations, that the whole shall ap- pear to be much larger than it really is, from the fact that the spectator is never allowed to see the whole at a single glance ; but while each portion is complete in itself, the plan shall present nothing incongruous or ill assorted.
An excellent illustration of this species of residence, is af- forded the reader, in the accompanying plan, (fig. 23,) of the grounds of Riverside Villa. This pretty villa at Bur-
13
98
LANDSCAPE GARDENING.
[Fig. 23. Plan of a Suburban Villa Residence.]
lington, New- Jersey, (to which we shall again refer,) was lately built, and the grounds, about six or eight acres in extent, laid out, from the designs of John Notman, Esq., architect, of Philadelphia ; and while the latter promise a large amount of beauty and enjoyment, scarcely any thing which can be supposed necessary for the convenience or wants of the family, is lost sight of.
ON WOOD AND PLANTATIONS. 99
The house, a, stands quite near the bank of the river, while one front commands fine water views, and the other looks into the lawn or pleasure grounds, b. On one side of the area is the kitchen garden, c, separated and concealed from the lawn, by thick groups of evergreen and deciduous trees. At e, is a picturesque orchard, in which the fruit trees are planted in groups, instead of straight lines, for the sake of effect. Directly under the windows of the drawing-room is the flower garden, / ; and at g^ is a seat. The walk aromid the lawn is also a carriage road, affording entrance and egress from the rear of the grounds, for garden purposes, as well as from the front of the house. At h, is situated the ice-house ; c?, hot-beds ; j, bleaching green ; z*, gardener's house, etc. In the rear of the latter are the stables, which are not shown on the plan.
The embellished farm, {fenne ornee\ is a pretty mode of combining something of the beauty of the landscape garden, with the utility of the farm, and we hope to see small country seats of this land, become more general. As re- gards profit in farming, of course, all modes of arranging or distributing land are inferior to simple square fields ; on account of the greater facility of working the land, in rectangular plots. But we suppose the owner of the small ornamental farm, to be one with whom profit is not the first and only consideration, — but who desires to unite with it something to gratify his taste, and to give a higher charm to his rural occupations. In fig. 24, is shown part of an embellished farm, treated in the picturesque style throughout. The various fields, under grass or tillage, are divided and bounded by winding roads, a, bordered by hedges of buckthorn, cedar, and hawthorn, instead of wooden fences ; the roads being wide enough to afford
100
LANDSCAPE GARDENING.
[Fig. 24
a Picturesque farm, (fermeornee).']
a pleasant drive or walk, so as to allow the owner or visitor to enjoy at the same time an agreeable circuit, and a glance at all the various crops, and modes of culture. In the plan before uSj the approach from the public road, is at b ; the dwell- ing at c ; the barns and farm-buildings at d ; the kitchen garden at e ; and the orchard at /. About the house are distributed some groups of trees, and here the fields, g, are kept in grass, and are either mown or pastured. The fields in crops are designated A, on the plan ; and a few picturesque groups of trees are planted, or allowed to remain, in these, to keep up the general character of the place. A low dell, or rocky thicket, is situated at i. Exceedingly interesting and agreeable effects may be produced, at little cost, in a picturesque farm of this kind. The hedges may be of a great variety of suitable shrubs, and, in addition to those
ON WOOD AND PLANTATIONS. 101
that we have named, we would introduce others of the sweet brier, the Michigan or prairie rose, (admirably adapted for the purpose,) the flowering crab, and the hke — beautiful and fragrant in their growth and blossoms. These hedges we would cause to grow thick, rather by interlacing the branches, than by constant shearing or trimming, which would give them a less formal, and a more free and natural air. The winding lanes traversing the farm, need only be gravelled near the house, — m other portions being left in grass, which will need little care, as it will generally be kept short enough by the passing of men and vehicles over it.
A picturesque or ornamental farm like this, would be an agreeable residence for a gentleman, retiring into the country on a small farm, desirous of experimenting for himself, with all the new modes of culture. The small and irregular fields, would, to him, be rather an advantage, and there would be an air of novelty and interest about the whole residence. Such an arrangement as this, would also be suitable for a fruit farm, near one of our large towns, the fields being occupied by orchards, vines, grass and grain. The house, and all the buildings, should be of a simple, though picturesque and accordant character.
The cottage ornee may have more or less ground attached to it. It is the ambition of some to have a great house and little land, and of others, (among whom we remember the poet Cowley,) to have a little house and a large garden. The latter would seem to be the more natural taste. When the grounds of a cottage are large, they will be treated by the landscape gardener nearly like those of a villa residence ; when they are smaller, a more quiet and simple character must be aimed at. But, even where they consist of only a rood or two, something tasteful and pretty may be ar-
102
LANDSCAPE GARDENING.
ranged.* In fig. 25, is shown a small piece of ground, on one side of a cottage, in which a picturesque character is attempted to be maintained. The plantations here, are made mostly with shrubs instead of trees, the latter being only sparingly introduced, for the want of room. In the disposition of these shrubs, however, the same attention to picturesque effect is paid as we have already pointed out in our remarks on grouping ; and by connecting the thickets and groups here and there, so as to conceal one walk from the other, a surprising variety and effect will frequently be produced, in an exceedingly limited spot.
The same limited grounds might
be planted in the graceful manner ■*" with good effect ; choosing, in this case, shrubs of symmetrical growth and fine forms, planting $ and grouping them somewhat t^ singly, and allowing every speci- men to attain its fullest luxuri- 0b ance of development.
In making these arrangements, [Fig. 25. Ground, of a Cottage om.e.:i Gvcu lu thc Small arca of a fourth of an acre, we should study the same principles, and endeavour to produce the same harmony of effects, as if we were improving a mansion residence of the first class. The extent of the operations, and the sums lavished, are not by any means necessarily connected with successful and pleasing results. The man of correct taste will, by the aid of very limited means, and upon a small surface, be able
* For a variety of modes of treating the grounds of small places, see our Designs
for Cottage Residences.
ON WOOD AND PLANTATIONS. 103
to afford the mind more true pleasure, than the improver who lavishes thousands without it, creating no other emotion than surprise or pity at the useless expenditure incurred ; and the Abbe Delille says nothing more true than that,
" Ce noble emploi demand un artiste qui pense, Prodigue de genie, et non pas de depense."
From the inspection of plans like these, the tyro may learn something of the manner of arranging plantations, and of the general effect of the natural style, in particular cases and situations. But the knowledge they afford, is so far be- low that obtained by an inspection of the effects in reality, that the latter should, in all cases, be preferred, where it is practicable. In this style, unlike the ancient, it is almost impossible that the same plan should exactly suit any other situation than that for which it was intended, for its great excellence lies in the endless variety produced by its appli- cation to different sites, situations, and surfaces ; developing the latent capacities of one place and heightening the charms of another.
But the leading principles, as regards the formation of plantations, which we have here endeavoured briefly to elu- cidate, are the same in all cases. After becoming familiar with these, should the amateur landscape gardener be at a loss how to proceed, he can hardly do better, as we have before suggested, than to study and recur often to the beautiful compositions and combinations of nature, displayed in her majestic groups, masses, and single trees, as well as open glades and deep thickets ; of which, fortunately, in most parts of our country, checkered here and there, as it is, with beautiful and picturesque scenery, tliere is no dearth or
10 4 LANDSCAPE GARDENING.
scarcity. Keeping these few principles in his mind, he will be able to detect new beauties, and transfer them to his own estate ; for nature is truly inexhaustible in her re- sources of the beautiful.
Classification of trees, as to expression. The amateur, who wishes to dispose his plantations in the natural style of Landscape Gardening, so as to produce grace- ful or picturesque landscape, will be greatly aided by a study of the peculiar expression of trees individually, and in com- position. The effect of a certain tree, singly, is often exceed- ingly different from that of a group of the same trees. To be fully aware of the effect of groups and masses, requires considerable study, and the progress in this study may be greatly facilitated by a recurrence from groups in nature, to groups in pictures.
As a farther aid to this most desirable species of informa- tion, we shall offer a few remarks on the principal varieties of character afforded by trees in composition.
Almost all trees, with relation to forms, may be divi- ded into three kinds viz : round-headed trees, oblong or pi/- rarnidal trees, and spiry-topped trees ; and so far as the expressions of the different species comprised in these distinct classes are concerned, they are, especially when viewed at a distance, (as much of the wood seen in a prospect of any extent, necesssarily, must be,) productive of nearly the same general effects.
Round-headed trees compose by far the largest of these divisions. The term includes all those trees which have an irregular surface in their boughs, more or less varied in outline, but exhibiting in the whole [Fig. 26. Rouud-heaii- a top Or hcad, coinparatively round; as the
ed Trees.]
oak, ash, beech, and walnut. They are generally beau-
ON WOOD AND PLANTATIONS. 105
tiful when young, from their smoothness, and the elegance of their forms ; but often grow picturesque, when age and time have had an opportunity to produce their wonted effects upon them. In general, however, the different round-headed trees may be considered as the most appropriate for introduc- tion in highly cultivated scenery, or landscapes where the character is that of graceful or polished beauty ; as they harmonize with almost all scenes, buildings, and natuTal or artificial objects, uniting well with other forms, and doing violence to no expression of scenery. From the numerous breaks in the surface of their foliage, which reflect differently the lights, and produce deep shadows, there is great intricacy and variety in the heads of many round-topped trees ; and therefore, as an outer surface, to meet the eye in a plantation, they are much softer and more pleasing, than the un- broken line exhibited by the sides of oblong or spiry-topped trees. The sky-outline, also, or the upper part of the head, varies greatly in romid topped trees, from the irregularity in the disposition of the upper branches in different species, as the oak and ash, or even between individual specimens of the same kind of tree, as the oak, of which we rarely see two trees alike in form and outline, although they have the same characteristic expression ; while, on the other hand, no two verdant objects can bear a greater general resem- blance to each other, and show more sameness of figure, than two Lombardy poplars.'
" In a tree," says Uvedale Price, " of which the foliage is everywhere full and unbroken, there can be but little variety of form ; then, as the sun strikes only on the surface, neither' can there be much variety of light and shade ; and as the apparent colour of objects changes according to the different degrees of light or shade in which they are placed, there can
14
106 LANDSCAPE GARDENING.
be as little variety of tint : and lastly, as there are none of these openings that excite and nourish curiosity, but the eye is everywhere opposed by one uniform leafy screen, there can be as little intricacy as variety." From these remarks, it win be perceived, that even among round-headed trees, there may be great difference in the comparative beauty of different sorts ; and judging from the excellent standard here laid down, it will also be seen how much, in the eye of a painter, a tree with a beautifully diversified surface, as the oak, sur- passes, in the composition of a scene, one with a very regular and compact surface and outline, as the horse-chestnut. In planting large masses of wood, therefore, or even in forming large groups in park scenery, round-headed trees, of the ordi- nary loose and varied manner of growth conmion in the ma- jority of forest trees, are greatly to be preferred to all others. When they cover large tracts, as several acres, they convey an emotion of grandeur to the mind ; when they form vast forests of thousands of acres, they produce a feeling of suh- limity ; in the landscape garden when they stand alone, or in fine groups, they are graceful, or beautiful. While young, they have an elegant appearance ; when old, they generally become majestic or picturesque. Other trees may suit scenery, or scenes, of particular and decided characters ; hutround-headed trees are, decidedly, the chief adornment of general landscape.
Spiry-topped trees, (fig. 27,) are distinguished by straight leading stems and horizontal branches, which are compara- tively small, and taper gradually to a point. The foliage is generally evergreen, and in most trees of this class, hangs in parallel or [Fij. 27.^spiry-top,,ed (Jroopiug tufts from the branches. The various evergreen trees, composing the spruce and iir families,
ON WOOD AND PLANTATIONS. 107
most of the pines, the cedar, and, among deciduous trees, the larch, belong to this division. Their hue is generally much darker than that of deciduous trees, and there is a strong similarity, or almost sameness, in the different kinds of trees which may properly be called spiry-topped.
From their sameness of form and surface, this class of trees, when planted in large tracts or masses, gives much'lessjplea- sure than round-headed trees ; and the eye is soon wearied with the monotony of appearance presented by long rows, groups, or masses, of the same form, outline, and appear- ance ; to say nothing of the effect of the uniform dark colour, unrelieved by the warmer tints of deciduous trees. Any one can bear testimony to this, who has travelled through a pine, hemlock, or fir forest, where he could not fail to be struck with its gloom, tediousness, and monotony, especially when contrasted with the variety and beauty in a natural wood of deciduous, round-headed trees.
Although spiry-topped trees, in large masses, cannot be generally admired for ornamental plantations, yet they have a character of their own, which is very striking and peculiar, and, we may add, in a high degree valuable to the Land- scape Gardener. Their general expression, when single or scattered, is extremely spirited, wild and picturesque ; and when judiciously introduced into artificial scenery, they pro- duce the most charming and unique effects, " The situa- tions where they have most effect, is among rocks, and in very irregular surfaces ; and especially on the steep sides of high mountains, where their forms and the direction of their growth, seem to harmonize with the pointed rocky sum- mits." Fir and pine forests are extremely dull and monoto- nous in sandy plains, and smooth surfaces, (as in the pine barrens of the southern states) ; but among the broken rocks,
108 LANDSCAPE GARDENING.
craggy precipices, and otherwise endlessly varied surfaces, (as in the Alps, abroad, and the various rocky heights in the Highlands of the Hudson and the Alleghanies, at home.) they are full of variety. It will readily be seen, therefore, that spiry- topped trees should always be planted in considerable quan- tities in wild, broken, and picturesque scenes, where they will appear perfectly in keepmg, and add wonderfully to the pecu- liar beauty of the situation. In all grounds, where there are abruptly varied surfaces, steep banks, or rocky precipices, this class of trees lends its efficient aid to strengthen the prevail- ing beauty, and to complete the finish of the picture. In smooth level surfaces, though spiry-topped trees carmot be thus extensively employed, they are by no means to be neg- lected or thought valueless, but may be so combined and iningled with other round-headed and oblong-headed trees, as to produce very rich and pleasing effects. A tall larch or two, or a few spruces, rising out of the centre of a group, give it life and spirit, and add greatly, both by contrast of form and colour, to the force of round-headed trees. A stately and regular white pine, or hemlock, or a few thin groups of the same trees, peeping out from amidst, or border- ing, a large mass of deciduous trees, have great power in ad- ding to the interest which the same awakens in the mind of the spectator. Care must be taken, however, that the very spirited effect which is here aimed at, is not itself defeated by the over anxiety of the planter, who, in scattering too profuse- ly these very strongly marked trees, makes them, at last, so plentiful, as to give the whole a mingled and confused look ; in which neither the graceful and sweeping outlines of the round-headed, nor the picturesque summits of the spiry-topped trees predominate ; as the former decidedly should, in all scenes where the expression is not stronger than that of mere graceful beauty.
ON WOOD AND PLANTATIONS. 109
The larch, to which we shall hereafter recur at some length, may be considered one of the most picturesque trees of this division ; and being more rapid in its growth than most evergreens, it may be used as a substitute for, or in con- junction with them, where effect is speedily desired.
Oblong-headed trees, show heads of foliage more length- ened out, more formal, and generally more tapering, than round-headed ones. They differ from spiry-top- ped trees, in having upright branches, instead of horizontal ones, and in forming a conical or pyra- ^^hf,dcd Tre'es"! ' uiidal mass of foliage, instead of a spiry, tufted one. They are mostly deciduous ; and approaching more nearly to round-headed trees, than spiry-topped ones do, they may perhaps be more frequently introduced. The Lombardy poplar may be considered the representative of this division ; as the oak is of the first, and the larch and fir of the second. Abroad, the oriental cypress, an evergreen, is used, to pro- duce similar effects in scenery.
The great use of the Lombardy poplar, and other similar trees, in composition, is to relieve, or break into groups, large masses of wood. This it does very efiectually, when its tall summit rises at intervals from among round-headed trees, forming pyramidal centres to groups, where there was only a swelling and flowing outline. Formal rows, or groups of oblong-headed trees, however, are tiresome and monotonous to the last degree ; a straight line of them being scarcely bet- ter in appearance, than a tall, stiff, gigantic hedge. Examples of this can be easily found in many parts of the Union, where the crude and formal taste of proprietors, by leading them to plant long lines of Lombardy poplars, has had the effect of destroying the beauty of many a fine prospect and building. Conical, or oblong-headed trees, when carefully employed,
110 LANDSCAPE GARDENING.
are very effective for purposes of contrast^ in conjunction with horizontal lines of buildings, such as we see in Grecian or Italian architecture. Near such edifices, sparingly irir traduced, and mingled, in small jiroportion, with round- headed trees, they contrast advantageously with the long cornices, flat roofs, and horizontal lines, that predominate in their exteriors. Lombardy poplars are, often, thus introduced in pictures of Italian scenery, where they sometimes break the formality of a long line of wall, in the happiest manner. Nevertheless, if they should be indiscriminately employed, or even used in any considerable proportion, in the decora- tion of the ground immediately adjoining a building of any pretensions, they would inevitably defeat this purpose, and by their tall and formal growth, diminish the apparent magnitude, as well as the elegance of the house.
Drooping trees, though often classed with oblong-headed trees, differ from them in so many particulars, that they deserve to be ranked under a separate head. To this class belong the weeping willow, the weeping birch, the drooping elm, etc. Their prominent characteristics are gracefulness, and elegance ; and we consider them as imfit, therefore, to be employed, to any extent^ in scenes where it is desirable to keep up the expression of a wild or highly picturesque character. As single objects, or tastefully grouped in graceful landscape, they are in excellent keeping, and contribute much to give value to the leading expres- sion.
When drooping trees are mixed indiscriminately with other round-headed trees, in the composition of groups or masses, much of their individual character is lost, as it depends, not so much on the top, (as in oblong and spiry trees,) as upon the side branches, which are, of course, concealed by those of the
ON WOOD AND PLANTATIONS. Ill
adjoining trees. Drooping trees, therefore, as elms, birches, etc., are shown to the best advantage on the borders of groups, or the boundaries of plantations. It must not be forgotten, but constantly kept in mind, that all strongly marked trees, like bright colors m pictures, only admit of occasional employ- ment ; and that the very object aimed at in introducing them, will be defeated, if they are brought into the lawn and park in masses, and distributed heedlessly on every side. An English author very justly remarks, therefore, that the pop- lar, the willow, and the drooping birch, are " most dangerous trees in the hands of a planter who has not considerable knowledge and good taste in the composition of a landscape." Some of them, as the native elm, from their abounding in our own woods, may appear oftener ; while others, which have a peculiar and exotic look, as the weeping willow, should only be seen in situations where they either do not disturb the prevailing expression, or, (which is better,) where they are evidently in good keeping. " The weeping willow," says Gilpin, with his usual good taste, " is not adapted to sublime objects. We wish it not to screen the broken but- tress and Gothic windows of an abbey, or to overshadow the battlements of a ruined castle. These offices it resigns to the oak, whose dignity can support them. The weeping willow seeks an humble scene, — some romantic footpath bridge, which it half conceals, or some glassy pool over which it hangs its streaming foliage,
' And dips
Its pendant boughs, as if to drink.' "*
The manner in which a picturesque bit of landscape can
* Forest Scenery, p. 133.
112 LANDSCAPE GARDENING.
be supported by picturesque spiry-topped trees, and its ex- pression degraded by the injudicious employment of grace- ful drooping trees, will be apparent to the reader in the two accompanying little sketches. In the first, (fig. 29,) the ab- rupt hill, the rapid mountain torrent, and the distant Alpine summits, are in fine keeping with the tall spiry larches and firs, which, shooting up [Fig. 29? TvirTkeeiiing.] 0^ cithcr sldc of tho old bridge, oc- cupy the foreground. In the second, (fig. 30,) there is evi- dently something discordant in the scene, which strikes the spectator, at first sight, this is the misplaced introduction of the large willows, which belong to a scene very different in character. Imagine a removal of the surrounding hills, and let the rapid stream spread out into a smooth peaceful lake, with gradually retiring [Fig. 30. Trees outof keeping.] shorcs, aud thc bluc summlts in the distance, and then the willows will harmonize admirably.
Having now described the peculiar characteristics of these different classes of round-headed, spiry-topped, oblong, and drooping trees, we should consider the proper method by which a harmonious combination of the different forms com- posing them, may be made, so as not to violate correct princi- ples of taste. An indiscriminate mixture of their different forms would, it is evident, produce any thing but an agree- able effect. For example, let a person plant together in a group, three trees of totally opposite forms and expressions, viz : a weeping willow, an oak, and a poplar ; and the expres- sion of the whole would be destroyed by the confusion re- sulting from their discordant forms. On the other hand, the mixture of trees that exactly correspond in their forms, if
ON WOOD AND PLANTATIONS. 113
these forms, as in oblong or drooping trees, are similar, will infallibly create sameness. In order then to produce beauti- ful variety, which shall neither, on the one side, run into con- fusion, nor on the other, verge into monotony, it is re- quisite to give some little attention to the harmony of form and colour in the composition of trees in artificial planta- tions.
The only rules which we can suggest to govern the planter are these : First, if a certain leading expression is desired in a group of trees, together with as great a variety as possible, such species must be chosen as harmonize with each other in certain leading points. And, secondly, in occasionally intermingling trees of opposite characters, discordance may be prevented, and harmonious expression promoted, by in- terposing other trees of an intermediate character.
In the first case, suppose it is desired to form a group of trees, in which gracefulness must be the leading expres- sion. The willow alone would have the effect ; but in groups, willows alone produce sameness : in order, therefore, to give variety, we must choose other trees which, while they diifer from the willow in some particulars, agree in others. The elm has much larger and darker foliage, while it has also a drooping spray ; the weeping birch differs in its leaves, but agrees in the pensile flow of its branches ; the common birch has few pendant boughs, but resembles in the airy lightness of its leaves ; and the three-thorned acacia, though its branches are horizontal, as delicate foliage of nearly the same hue and floating lightness as the willow. Here we have a group of five trees, which is, in the whole, full of gracefulness and variety, while there is nothing in the com- position inharmonious to the practised eye.
To illustrate the second case, let us suppose a long sweep-
15
114 LANDSCAPE GARDENING.
ing outline of maples, birches, and other light, mellow-colour- ed trees, which the improver wishes to vary, and break into groups, by spiry topped, evergreen trees. It is evident, that if these trees were planted in such a mamier as to peer ab- ruptly out of the light-colored foliage of the former trees, in dark, or almost black masses of tapering verdure, the effect would be by no means so satisfactory and pleasing, as if there were a partial transition from the mellow, pale-green of the maples, etc., to the darker hues of the oak, ash, or beech, and finally the sombre tint of the evergreens. Thus much for the colouring ; and if, in addition to this, oblong-headed trees, or pyramidal trees, were also placed near j^and partly intermingled with the spiiy-topped ones, the unity of the whole composition would be still more complete.*
Contrasts, again, are often admissible in woody scenery, and we would not wish to lose many of our most superb trees, because they could not be introduced in particular portions of landscape. Contrasts in trees may be so violent as to be displeasing ; as in the example of the groups of the three trees, the willow, poplar, and oak : or they may be such as to produce spirited and pleasing effects. This must be effected by planting the different divisions of trees, first,
* We are persuaded that very few persons are aware of the beauty, varied and endless, that may be produced by arranging trees with regard to their colouring. It requires the eye and genius of a Claude, or a Poussin, to develope all these hidden beauties of harmonious combination. Gilpin rightly says, in speaking of the dark Scotch fir, " with regard to colour in general, I think I speak the language of paint- ing, when I assert that the picturesque eye makes little distinction in this matter. It has no attachment to one colour in preference to another, but considers the beauty of all colouring as resulting, not from the colours themselves, but almost entirely from their harmony with other colours in their neighbourhood. So that as the Scotdh fir tree is combined or stationed, it forms a beautiful umbrage or a murky spot."
ON WOOD AND PLANTATIONS.
115
in small leading groups, and then by effecting a union be- tween the groups of different character, by intermingling those of the nearest similarity into and near the groups : in this way, by easy transitions from the drooping to the round- headed, and from these to the tapering trees, the whole of the foliage and forms, harmonize well.
[Pig. 31. Example in grouping. 3
" Trees," observes Mr. Whately, in his elegant treatise on this subject, " which differ in but one of these circumstances, of shape, green, or growth, though they agree in every other, are sufficiently distinguished for the purpose of variety : if they differ in two or three, they become contrasts : if in all, they are opposite, and seldom group well together. Those, on the contrary, which are of one character, and are distin- guished only as the characteristic mark is strongly or faintly impressed upon them, form a beautiful mass, and unity is preserved without sameness."*
There is another circumstance connected with the colour of trees, that will doubtless suggest itself to the improver of taste, the knowledge of which may sometimes be turned to valuable account. We mean the effects produced in the ap- parent colouring of a landscape by distance, which painters term aerial perspective. Standing at a certain position in a
* Observations on Modern Gardening.
116 LANDSCAPE GARDENING.
scene, the colouring is deep, rich, and full in the foreground, more tender and mellow in the middle-ground, and softening to a pale tint in the distance.
"Where to the eye three well marked distances Spread their peculiar colouring, vivid green, Warm brown, and black opake the foreground bears Conspicuous : sober olive coldly marks The second distance : thence the third declines In softer blue, or lessening still, is lost In fainted purple. When thy taste is call'd To deck a scene where nature's self presents All these distinct gradations, then rejoice As does the Painter, and like him apply Thy colours : plant thou on each separate part Its proper foliage."
Advantage may occasionally be taken of this peculiarity in the gradation of colour, in Landscspe Gardening, by the crea- tion, as it were, of an artificial distance. In grounds and scenes of limited extent, the apparent size and breadth may be increased, by planting a majority of the trees in the fore- ground, of dark tints, and the boundary with foliage of a much lighter hue. In the same way, the apparent breadth of a piece of water will be greatly added to, by placing the paler color- ed trees on the shore opposite to the spectator. These hints will suggest other ideas and examples of a similar nature, to the minds of those who are alive to the more minute and exquisite beauties of the landscape.
An acquaintance, individually, with the diiFerent species of trees of indigenous and foreign growth, which may be culti- vated with success in this climate, is absolutely essential to the amateur, or the professor of Landscape Gardening. The tardiness or rapidity of their growth, the periods at which
ON WOOD AND PLANTATIONS. 117
their leaves and flowers expand, the soils they love best, and their various habits and characters, are all subjects of the high- est interest to him. In short, as a love of the country almost commences with a knowledge of its peculiar characteristics, the pure air, the fresh enamelled turf, and the luxuriance and beauty of the whole landscape ; so the taste for the embel- lishment of Rural Residences, must grow out of an admiration for beautiful trees, and the delightful effects they are capable of producing in the hands of persons of taste, and lovers of nature.
Admitting this, we think, in the comparatively meagre state of general information on this subject among us, we shall render an acceptable service to the novice, by giving a some- what detailed description of the character and habits of most of the finest hardy forest and ornamental trees. Among those living in the country, there are many who care little for the beauties of Landscape Gardening, who are yet interested in those trees which are remarkable for the beauty of their forms, their foliage, their blossoms, or their useful purposes- This, we hope, will be a sufficient explanation for the ap- parently disproportionate number of pages which we shall devote to this part of our subject.
118 LANDSCAPE GARDENING.
SECTION IV.
DECIDUOUS ORNAMENTAL TREES. ^
The History and Description of all the finest hardy Deciduous Trees. Remarks on theie EFFECTS IN LANDSCAPK GARDENING, INDIYIDUALLT AND IN COMPOSITION. Their Cultiva- tion, etc. The Oak. The Elm. The Ash. The Linden. The Beech. The Poplar. The Horse-chestnut The Birch. The Alder. The Maple. The Locust The Three-thorned Acacia. The Judas-tiee. The Chestnut The Osage Orange. The Mulberry. The Paper Mulberry. The Sweet Gum. The Walnut The Hickory. The Mountain Ash. The Ailantus. The Kentucky Coffee. The Willow. The Sassafras. The Catalpa. The Persimon. The Pepperidge. The Thorn. The Magnolia. The Tulip. The Dogwood TheSalisburia. The Paulonia. The Virgilia. The Cypress. The Larch, etc.
O gloriosi spiriti de gli boschi, O Eco, o antri foschi, o chiare linfe, O faretrate ninfe, o agresti Pani, O Satiri e Silvani, o Faiini e Driadi, Naiadi ed Amadriadi, o Semidee
Oreadi e Napee. —
Sannazzaro.
" O spirits of the woods, Echoes and solitudes, and lakes of light ; O quivered virgins bright, Pan's rustical Satyrs and sylvans aU, dryads and ye That up the mountains be ; and ye beneath In meadow or in flowery heath.
The Oak. Quercus. Nat. Ord. Corylaceae. Lin. Syst. Monoecia, Polyandria.
H E Arcadians believed the oak to have been the first created of all trees ; and when we consider its great and surpassing utility and beauty, we are fully disposed to concede it the first rank among the denizens of the forest. Springing
DECIDUOUS ORNAMENTAL TREES. 119
up with a noble trunk, and stretching out its broad limbs over the soil,
"These monarchs of the wood, Dark, gnarled, centennial oaks,"
seem proudly to bid defiance to time ; and while generations of man appear and disappear, they withstand the storms of a thousand winters, and seem only to grow more venerable and majestic. They are mentioned in the oldest histories ; we are told that Absalom was caught by his hair in "the thick boughs of a great oak ;" and Herodotus informs us that the first oracle was that of Dodona, set up in the celebrated oak grove of that name. There, at first, the oracles were de- livered by the priestesses, but, as was afterwards believed, by the inspired oaks themselves —
" Which in Dodona did enshrine, So faith too fondly