or to criticise on what others propose, without having bestowed a thought on the first principles of landscape gardening or architecture.

That these two sister arts are, and must be, inseparable, is obvious from the following consideration. The most beautiful scenes in nature may surprise at first sight, or delight for a time, but they cannot long be interesting, unless made habitable; therefore, the whole art of landscape gardening may properly be defined, the pleasing combination of art and nature adapted to the use of man.

During the last ten years, the art of landscape gardening, in common with all other arts which depend on peace and patronage, has felt the influence of war, and war taxes, which operate both on the means and the inclination to cultivate the arts of peace; these have languished under the impoverishment of the country, while the sudden acquirement of riches, by individuals, has diverted wealth into new channels; men are solicitous to increase property rather than to enjoy it; they endeavour to improve the value, rather than the beauty, of their newly purchased estates. The country gentleman, in the last century, took more delight in the sports of the field, than in the profits of the farm; his pleasure was, to enjoy in peace the venerable home of his ancestors; but the necessity of living in camps, and the habit of living in lodgings, or watering-places, has, of late, totally changed his character and pursuits; and, at the same time, perhaps, tended to alienate half the ancient landed property of the country.

It is not, therefore, to be wondered at, that the art of landscape gardening should have slowly and gradually declined. Whether the influence of returning peace may revive its energies, or whether it is hereafter to be classed among the "arles perdita" [the lost arts], the Author hopes its memory be preserved a little longer in the following pages.

may

NOTWITHSTANDING the numerous volumes on Grecian architecture, from the days of Vitruvius to the present time, to which may be added all that have appeared within the last century on the subject of Gothic antiquities, little or no notice has been taken of the relative effects of the two styles, compared with each other; nor even of those leading principles by which they are to be distinguished, characterized, and appropriated to the scenery of nature. It would seem as if the whole science of Grecian architecture consisted in the five orders of columns, and that of Gothic, in pointed arches and notched battlements.

To explain this subject more clearly, and bring it before the eye more distinctly, I will refer to the following plates [figs. 153 and 154], containing three different characters of

[Fig. 153.]

C

elevations, supposing each made applicable to a house of moderate size, not exceeding a front of sixty feet, consisting of three stories, with five windows in a line. This is first represented quite plain, as at A; and afterwards with the sur

face broken by horizontal lines, as at B; and by vertical or perpendicular lines, as at c. We may observe, that, without introducing any order of columns, or any pointed arches, the eye seems at once to class the former with the Grecian, and the latter with the Gothic character; and this is the consequence merely of the contrasted horizontal and perpendicular lines.

Let us now proceed one step farther: we must suppose the same building to be taken from the hands of the mere joiner and house carpenter, and committed to the architect to be finished, either in the Grecian, or the Gothic style.

For the former, recourse is had to the best specimens and proportions of columns, pilasters, entablatures, pediments, &c., represented in books of architecture, or copied from remains of ancient fragments in Greece, or Italy: but, unfortunately, these all relate to temples or public edifices, and, consequently, to make the dwelling habitable in this climate, modern sashwindows must be added to these sacred forms of remote antiquity. Thus, some Grecian or Roman temple is surprised to find itself transported from the banks of the Ilissus, or the Tiber, to the shores of the Thames, or to the tame margin of a modern stagnant sheet of water.

If the Gothic character be preferred, the architect must seek for his models among the fragments of his own country: but again, unfortunately, instead of houses, he can only have recourse to castles, cathedrals, abbeys, and colleges; many of which have been so mutilated and disfigured by modern repairs, by converting castles into palaces, and changing convents into dwelling-houses, that pointed arches and battlements have become the leading features of modern Gothie buildings. The detail of parts is studied, but the character of the whole is

overlooked. No attention is given to that bold and irregular outline, which constitutes the real basis and beauty of the Gothic character; where, instead of one uniform line of roof and front, some parts project, and others recede: but wherever the roof is visible over the battlements, it seems as if it rose to proclaim the triumph of art over science, or carpentry over architecture. The elevation D, represents one of these spruce villas, surrounded by spruce firs, attended by Lombardy poplars, profusely scattered over the face of the country. That at F, may be supposed the fragment of some ancient castle, or manor-house, repaired and restored to make it habitable; and that at E is something betwixt the two, which will be further noticed.

The remaining part of this subject more peculiarly belongs to the landscape gardener, whose province it is to consider the effect of nature and art combined: let us examine the two different styles in the two landscapes in the next plate.

In the quiet, calm, and beautiful scenery of a tame country, the elegant forms of Grecian art [fig. 155] are, surely,

[Fig. 155. A tame country, for which Grecian architecture is supposed to be most suitable.]

more grateful and appropriate than a ruder and severer style; but, on the contrary, there are some wild and romantic situations, whose rocks, and dashing mountain-streams, or deep umbrageous dells, would seem to harmonize with the proud baronial tower, or mitred abbey, "embosomed high in tufted

trees," as tending to associate the character of the building with that of its native accompaniment [see fig. 156].

The outline of a building is never so well seen as when

[Fig. 156. A bold rugged country, for which the castellated Gothic is considered best adapted.]

in shadow, and opposed to a brilliant sky; or when it is reflected on the surface of a pool: then the great difference betwixt the Grecian and Gothic character is more peculiarly striking.

FRAGMENT II.

RELATING TO SYMMETRY.

THE elevations in the first plate will serve to elucidate some remarks on architecture, not to be expected in treatises which relate merely to the five orders, and their symmetrical arrangement. Such works give a very inadequate idea of that art which teaches to adapt the habitation of man to rural scenery, uniting convenience with beauty, and utility with ornament. The houses A, B, and c [fig. 153, p. 411], represent that sort of plain front which may be extended to any length, even till it reaches the dimensions of a barrack or an hospital. But in all such fronts, a certain degree of symmetry is deemed essential; and, therefore, we expect to see the door in the centre of the building. This arrangement, in small