The central Presbyterian. [volume] (Richmond, Va.) 1856-1908, 1870-05-25
81 nsb AT 4 ~.
Landscape GARDENING

NdAuOhlhSi A0ou uOAol0 VIC flTBlNld I1ol u
cultural Society, by Captain Charles H.
Dimmock.
Before a trial in Landscape gardening,
which should not be confined alone to the
treatment of large areas, the first essential
is close observation of nature in all her
varying forms, and of those forms as beau
titled by art. In every landscape or locality
there is present, in some degree, one of two
styles of natural beauty; one the calm,
graceful, or elegant, the other the irregular
or picturesque. The leading features of
these two styles are too well known to re-
quire detail here. Observation will at once
determine the prevalent expression, and all
improvements must be fitting, and in har-
mOny Herewith. The picturesque will be
found the most difficult in treatment, as gen
tie undulations, easy curving paths, group
ings of elegant trees, the disposition of
shrubbery, the turf-clothed surface, and
placid waters are more easily handled than
steep, rocky banks, rough and irregular
pathways, weird and tangled thickets, moss,
lichen, and flower covered slopes, and noisy
brooks. A third style, which is correctly
the graceful and elegant, so ordered as to
exhibit the individual beauty and variety of
trees and shrubbery has been practised in
England under the title of the Gardenesque,
and it is this style that is best adapted to
small areas, and for the adornment of city
squares and urban parks. AS in this method
trees and shrubs are sought for their indi-
vidual beauty and character, groupings must
be made without bringing the heads of trees
in contact-still keeping in view the pleas
ing effects of these groups as single mass.
In the gardenesque each tree must have dis
tinct and separate attractions, and may stand
alone, or as making one of group. In the
picturesque, beauty of individual trees and
shrubs is of comparatively little consequence,
forming, as they do, parts of mass or
group, the spirit of this style forbidding the
introduction of single trees. The distinc-
ton between the gardenesque and the beau
titul limitations of nature, consists in the
first allowing the introduction of foliage of
every hue and character; while the latter
demands masses as well as single trees, those
masses to be composed mainly of such TO-
liage as is in harmony with the scene. A
broader treatment of grounds is necessarily
consequent upon massing the foliage.
No picture can give satisfaction that has
not some leading feature, or key, upon
which the general effect depends, and to
which all else must be ancillary-so in the
treatment ofnature, there must be "a prevalence
of one sentiment, unity that must pervade
the scence to the exclusion of combinations
essentially repugnant, eDgendering confu
sion of ideas destructive of all pleasure
1t is readily perceived how the unity of
scene would be lost by the incongruity of an
avenue, lined, perchance, with poplars, cut
ting in direct line through grounds orna-
mented with groups of round headed trees,
and trayersed by roads and paths graceful
in curvature. Again, the introduction of
fruit among ornamental trees necessitates
the inharmOnious association, in the mind,
of the useful with the ornamental; and the
sudden change in the arrangement of trees
of the same plantation, coming under the
eye at one observation, distracts by its in
consistency, and induces confusion of SEN
sations. Variety is not, however, to be dis
regarded, but it must be sought in natural
changes, by adornments, and in the color,
form, and distribution of trees, shrubs, and
flowers.
The value of Woods in landscape garden
ing cannot be too highly estimated; without
them, beauties of contour, surface, or de-
sign fail in effects, becoming mere notes of
natures music without connection or har-
mony. From the dwelling house as the GEN.
trail point, whence the grounds are oftenest
seen, and for the pleasure of whose inmates
other considerations should yield, groupings
of trees, views, vistas, and roads must be
first considered Masses of foliage usually
heighten the dignity of a dwelling when in
troduced in its rear, and should be so ar
ranged as to hide out-houses that have little
claim upon observation. On its front, the
house should be unobscured, with the excep
ton of an occasional tree, elegant in form
and judiciously located. Groups of trees
should shut out unfavorable views, and open.
ings be left to disclose those that are most
attractive.
No greater outrage upon nature or beauty
can be found than the hard formal cluster
ing of trees into what is expressively termed
a clump. Composed of trees of one varie-
ty, equal in age, about the same distances
apart, hard and regular in outline, with
heads crowding each other, it stands like
band of outlaws, amendable to no law of
nature and presenting the same ugly and
incorporating front at every point of APP
proach. In contrast we find natural group,
with trees differing in size and age, open,
graceful, and irregular, presenting new and
pleasing combinations at each change of OBJ.
servation, and rendered charming by its in
tricacies and every varying opposition of
light and shade.
Vines and climbing plants are valuable
agents in the hands of the landscape gar
dener and find suitable application in every
scene. With them beauties may be en-
HANGED, defects obscured, and the pictures
que increased. Many Architectural mon
strosities clothed in habiliments of ivy have
grown into objects of unusual beauty
This plant is protection to walls, rather
than an injury, nor can it or its kindred
climbers prove hurtful to tree we'll ad-
vanced towards maturity.
s. Planter & Farmer.
TO BE CONTINUED.