1869.J Landscape, Decorative, and Economic Gardening. 455 pieces, partitions,, floors, table-tops, sinks, and for other architectural and internal decorative and useful purposes. Various ornamental articles have also been prepared of slate in imitation of marbles, granite, &c , by applying dif- ferent colors, which are baked in, pol- ished and varnished. LANDSCAPE, DECORATIVE, AND ECONOMIC GARDENING No. 4. IN a former paper, the term Natural was used, to distinguish the oppo- site style of the treatment of grounds, to that of the Geometrical. The term is not a particularly happy one, as used for this purpose ; and yet it indicates, somewhat clearly, the character of the imitation it desires to express. In the Geometrical style, the inter- ference and result of art is shown in eveiy line ; the whole arrangement is so distinctly different from any natural pro- duction, that it is at once recognized as a work of art, and contrasts so strongly with natural scenery, that it becomes perfectly satisfaetoiy to the beholder. In the Natural style, there is nothing produced, so far as relates to landscape and views, that seems unusual in unas- sisted nature ; or, that might not have been natural to the locality ; at least so far as regards the general scenic effect of the composition. All natural beauties and peculiarities are carefully studied, and preserved, to- the extent consistent with utility; but there is no desire whatever to disavow art. Nature is imi- tated, in a similar manner as in sculp- ture or painting, but the imitation will not be taken for the original. The aim of artists is simply to show the original, in as distinct a manner, as the nature of the materials employed will admit. They are not intended to be taken for any thing but an imitation, more or less meritorious. In the disposition of trees and shrubs, although the arrangement is such as might be taken for a natural group, yet the kind of plants employed, will show that they are not indigenous to the spot. In a locality where evergreens do not grow naturally, their presence will indi- cate the interference of art and design, and thus give an essential character to the scene. Art, however, must not ap- pear obtrusive, for "Great Nature scorns control ; 'tis thine alone To mend, not change her features. Does her hand Stretch forth a level lawn ? Ah, hope not thou To lift the mountain there. Do mountains frown Around ? Ah, wish not there the level lawn." The term Natural is therefore to be understood as applying to generalities, rather than to details. A trodden foot- path — curving graceful^ around the side of a hill, or on the banks of a stream, now embracing a group of indigenous trees, bordered with an undergrowth of blackberries, and other native shrubs ; again, turning more abruptly, as it winds through the tangled thicket of twining vines, or, sweeping over a meadow, its outline alternately widening and narrow- ing; at times scarcely visible from the overlapping foliage of grasses and weeds — would be pronounced strictly natural. But let this path be widened, and its surface neatly covered with gravel, its curves defined, and its sides made perfectly parallel; and the natural- ness it formerly possessed is now in a great measure destroyed, although the scenery is in no degree impaired. Still, its general effect may be none the less beautiful; but its beauty is' now of a different character. In its former state, while we might admire its naturalness, yet, for comfort and utility, we greatly prefer its improved condition. We also trace in the latter, a design, a fitness of
