458 The Architectural Review and American Builders' Journal. [Jan., We have many examples of this kind in poetry, such as the following from Darwin's " Temple of Nature," where almost every line is vividly suggestive : mark : — . "The rush-thatched cottage on the purple moor, Where ruddy children frolic round the door ; The moss-grown antlers of the aged oak ; The shaggy locks that fringe the colt unbroke ;
- The bearded goat, with nimble eyes, that glare
Through the long tissue of his hoary hair, As, with quick step, he climbs the ruined wall, And crops the ivy which prevents its fall." We have another beautiful picture, of more harmonious softness and mellow tone ; and one that recalls some impres- sion upon the ear, at the same time that it appeals to the mind, from Goldsmith's Deserted Village • " Sweet was the sound, when oft, at evening's close, Up yonder hill the village murmur rose. There, as I passed with careless steps and slow, The mingled notes came softened from below ; The swain responsive, as the milkmaid sung ; The sober herd, that low'd to meet their young; The noisy geese, that gabbled o'er the pool ; The playful children, just let loose from school ; The watch-dog's voice, that bay'd the whispering wind ; And the loud laugh, that spoke the vacant mind ; These, all in soft confusion, sought the shade ; And fill'd each pause the nightingale had made." A variety of the natural style is dis- tinguished as the gardenesque. In car- rying out this mode, the trees and shrubs are disposecTtn such a manner, that they may rarely meet or touch each other during after growth, so that the indi- vidual beauty of each plant will be fully developed. The groups must show each plant distinctly ; but it is not necessary that the plants should show any thing like a uniformity of being equally dis- tant apart, as this would produce mo- notony ; yet the separation should be complete. There are no bold masses of light and shade in this treatment, at least not until the plants have attained considerable size, and in grounds of great extent. Every thing must indi- cate high keeping and superior care in cultivation. It is graceful, rather than grand ; and its partial introduction in the arrangement of scenery is always productive of pleasing effects. In m}' earlier studies of the principles of beauty, and their application to land- scape gardening, I found, on comparing the conclusions which I had reached, with the published opinions and systems of those who had written practical trea- tises on the subject, that I could not appreciate their designations of various distinct styles. Especially was this the case with those termed the Picturesque and the Graceful, when treated as con- trasting modes, or distinct species The verjr imperfect definitions, and the still more imperfect, oftentimes vague and contradictory, explanations afforded no assistance. On the contrary, they only showed convincing proof that these so- called styles are simply varieties, 01 relative beauties of what I have termed the Natural. Viewed in this light all difficulty vanishes. I have, therefore, in a former number, remarked that there are only two dis- tinct styles — the Geometrical and the Natural — all other applied termc being varieties, more or less distinctly marked, of these. There are many objects in nature that are strongly picturesque, and at the same time exceedingly graceful. As an example of this combination I would mention the weeping-willow, (Salix Babylonica.) The historical associa- tions of this plant in connection with the tomb of Napoleon, at St. Helena, invest it with a high degree of pictur- esque beauty, while its beautiful form and graceful habit of growth are not excelled by that of any other tree. William Saunders. Washington, D. C. December, 18G8. 1 I Note. — The above finishes the present series on stj'les of Gardening. Mr. Saunders — whose articles, we are assured, have been perused by our patrons with unfeigned pleasure — intends next proceeding with a series, "Upon the Selection of Sites for Country Residences, &c," to be accompanied by occasional sketches. — Eds.
