OF THE SITUATION, CHARACTER, AND CIRCUMSTANCES.

THE PAVILLON, originally erected on a small scale, with very little adjoining territory, is now become surrounded by houses on every side; and what was only a small fishing-town, is now become equal to some cities in extent and population. Such must ever be the influence of a royal residence, which cannot long exist in solitude. The situation of the Pavillon is, therefore, that of a palace surrounded by other houses, to which great extent of garden is neither possible nor desirable: yet the ground on which the Pavillon is built (including its offices and gardens), occupies more space than generally belongs to houses built in towns, and includes as much ground as is necessary for a garden so situated. This supposes the proper distinction to be made between garden and park scenery, which have, of late, been confounded: the park may imitate nature in its wilder forms, but the garden must still be an artificial object. The park, by its formal clumps, its sweeping plantations, and meandering gravel roads, has, of late, become an overgrown and slovenly garden; while the garden, by its naked lawn, and its invisible boundary, has become a mere grass field, without interest or animation. The magnificent terraces of former times have been sloped, to unite with the adjoining pasture; while shrubs and flowers, and all the gay accompaniments of a garden, are banished from the windows of the palace, that it may appear to stand in the middle of a lawn, less cheerful than a cottage on a naked common. This defect in modern gardening is to be attributed to the misapplication of the sunk fence, which gives freedom in appearance, but, in reality, confinement. Fortunately, the sunk fence cannot be applied to the gardens of the Pavillon; we cannot blend the surface of the grass with adjoining streets and parades; we cannot give great ideal extent by concealing the actual boundary; we cannot lay open the foreground of the scene to admit distant views of sea or land, while impeded by intervening houses; and, therefore, both the character and situation of the Pavillon render these common rules of landscape gardening totally inapplicable.

GENERAL OUTLINE OF THE PLAN.

SINCE, therefore, the real extent of this garden cannot be increased by uniting it with surrounding objects, the imagination can only be deceived by such variations in the surface of the ground, and such a position of intervening embellishments, as may retard the eye in its too rapid progress, and amuse by the richness, the variety, and the intricacy of the scene. This will produce greatness of character, without greatness of dimension; and will delight by its beauty, where it cannot surprise by its extent: such is the general outline of the plan as it relates to nature. As a work of art, the garden of the Pavillon is further to be considered.

It has been beautifully observed by Lord Bacon, "That "in the royal ordering of gardens, there should be a garden "for every month in the year;" but, in my humble endeavours to gratify the royal commands, it would be my pride to make a garden which should not be affected by any variations of season, or soil, or weather, or situation; and thus form a perpetual garden, enriched with the production of every climate.

"Hic VER assiduum, atque alienis mensibus ESTAS."
[Here blooms perpetual spring, and summer shines
In months not hers.]

REMARKS ON THE GENERAL PLAN.

To accomplish the great object of a perpetual garden, it will be necessary to provide for a regular succession of plants; and the means of removing and transplanting. It will also require certain space for various other uses; yet, as the present area cannot be increased, we can only obtain such USEFUL space by contracting the limits of that which is merely ORNAMENTAL. The parts so intended to be thrown out are distinguished in the plan, fig. 125, by the letters w and z; and the ornamental limits, by the letters k, k, k, k, k. This boundary is supposed to be disguised by various expedients;

* Such as the stowage of frames, glasses, coals, wood, mould, gardenpots, and all the unsightly appendages of a working garden.

(Fig. 125. General Ground Plan of the Pavillon and Gardens at Brighton.]

where the aspect will admit any sunshine (although not always to the south), a conservatory, or a green-house, may be most advisable, because they will draw off the attention from the interior of the garden to the interior of the conservatory, a circumstance which constitutes the most interesting part of the garden, in summer, by its exotic productions; and, in winter, by the permanency of its vegetation: each of these, from the diversity of their plants, the studied contrivance in their arrangements, and the contrasted forms and character of their embellishments, will arrest the attention, and increase the imaginary extent of the area.

These different stations may be connected with each other, and with the house, by corridors, or flower passages; in some places, under cover; in others, occasionally covered with glass in winter, which, in summer, may be taken away, leaving only such standards of wood or cast-iron as may serve to trail climbers and creeping plants.

SHAPE OF GROUND.

THERE is so little inequality of surface, that the ground may be almost described as perfectly flat, except that the stables are placed rather higher than the general level: this alone would render it necessary to form a small valley, or hollow, betwixt the stables and the house, to prevent the latter from being oppressed by the former. Every valley in nature has a fall in some one direction, generally serving as a drain for the surface water; and wherever this is interrupted, either by natural or artificial obstructions, water is formed into a lake in large valleys, and into a pool in small ones.

The most natural shape for the surface will be a valley trending from north to south. The great dome has been placed at the north end of this valley, and an artificial obstruction from the adjoining town has stopped the valley towards the south: this forms a dell, or hollow basin, which

Supposing the two objects to be kept distinct: but, as I should rather wish to consider them so connected as to form one magnificent whole, under the name of the PAVILLON, I cannot treat them as distinct objects, but as different parts of the same scenery.

ought, if possible, to have a pool of water, however small it may be; and, as it is evidently caused by the interference of art, its form should be artificial; any attempt to make it natural, would look like affectation.

[Fig. 126. View of part of the Stable-front of the Pavillon at Brighton, previous to the removal of certain trees, which obscured the stable-dome.]

In the drawings [our figs. 126 and 127], the slide [our fig. 126] represents the trees which have been removed,

[Fig. 127. View of the Stable-front of the Pavillon at Brighton, as seen from the lawn.]

not only because they stood in a line through the middle of the ground, and hid the dome, but also because the ground on which they stood has been lowered to form the valley.