almost so,

stripping the near ground, entirely naked, or and surrounding it with a wavy border of shrubs, and a gravel walk; leaving the area, area, whether large or small, one naked sheet of greensward.

IN small confined spots, this plan may be eligible. We dislike those bolstered flower beds, which abound in the suburbs of the metropolis, where the broken ground sometimes exceeds the lawn: nevertheless, to our apprehension, a simple border, round a large unbroken lawn, only serves to shew what more is wanted. Simplicity in general is pleasing; but even simplicity may be carried to an extreme, so as to convey no other idea than that of poverty and baldness. Besides, how often do we see in natural scenery, the holly and the foxglove flourishing at the foot of an oak, and the primrose and the campion adding charms to the hawthorn, scattered over the pastured lawn? And we conceive that groups and single trees, footed with evergreens and native flowers, and masses, as well as borders of shrubs, are admissible in ornamental, as well as in natural scenery.

THE species of shrub should vary with the intention. If the principal intention be a winter retreat, evergreens, and the early-blowing shrubs, should predominate; but, in a place to be frequented in summer and autumn, the deciduous tribes ought chiefly to be planted.

SECTION THE FIFTH.

PRINCIPAL RESIDENCE.

HERE, the whole art centers. The artist has, here, full scope for a display of taste and genius. He has an extent of country under his eye, and will endeavour to make the most of what nature and accident have spread before him.

ROUND a Principal Residence, a gentleman may be supposed to have some considerable property, and it is not a shrubery and a ground only, which fall under the consideration of the artist: he ought to endeavour to disclose to the view, either from the house or some other point, as much as he conveniently can of the adjacent estate. The love of possession is deeply planted in every man's breast; and places should bow to the gratification of their owners. To curtail the view by an artificial side screen, or any other unnatural machinery, so as to deprive a man of the satisfaction of overlooking his own estate, is an absurdity which no artist ought to be permitted to be guilty of. It is very different, however, where the property of another

intrudes

the

may,

upon eye: Here, the view with some colour of propriety, be bounded by a woody

screen.

AFTER what has been said under the head GENENAL APPLICATION, little remains to be added, here. Indeed, it would be in vain to attempt to lay down particular rules: different places are marked by sets of features, as different from each other, as are those of men's faces. Much must be left to the skill and taste of the artist; and let those be what they may, nothing but mature study of the natural abilities of the particular place to be improved, can render him equal to the execution, so as to make the most of the materials that are placed before

him.

SOME few general rules may, nevertheless, be laid down. The approach ought to be conducted in such a manner, that the striking features of the place shall burst upon the view at once: no trick, however, should be made use of: all should appear to fall in naturally. In leading towards the house, its direction should not be fully in front, nor exactly at an angle, but should pass obliquely upon the house and its accompaniments; so that their position with respect to each other, as well as the perspective appearance of the house itself, may vary at every step: and, having shewn the front

and the principal wing, or other accompaniment, to advantage, the approach should wind to the back front, which, as has been already observed, ought to lie open to the park or pastured grounds.

THE improvements, and the rooms from which they are to be seen, should be in unison. Thus, the view from the drawing room should be highly embellished, to correspond with the beauty and elegance within every thing, here, should be fe minine-elegant-beautiful—such as attunes the mind to politeness and lively conversation. The breakfasting room should have more masculine objects in view wood, water, and an extended country for the eye to roam over; such as allures us, imperceptibly, to the ride or the chace. The eating and banqueting rooms need no exterior allurements.

THERE is a harmony in taste, as in music: variety, and even wildness, in its proper place, may be admitted; but discord cannot be allowed. If, therefore, a principal Residence be so circumstanced, as to consist of properties totally irreconcileable, the parts ought, if possible, to be separated in such a manner, that, like the air and the recitative, the adagio and the allegro, in music, they may set off each other's charms by the con

trast.

DIVISION THE FOURTH.

PRACTICAL REMARKS

ON

ORNAMENTED PLACES.

HAVING attempted, in the foregoing pages, to lay down some GENERAL PRINCIPLES of the Rural Art, and having endeavoured to convey some general ideas, concerning the APPLICATION of these principles, we now proceed to illustrate them farther, by such practical remarks as have occurred to us, on examining the different places which have more particularly engaged our at

tention.

SECTION THE FIRST.

PERSFIELD.

FORMERLY the seat of Mr. MORRIS, near Chepstow, in Monmouthshire,-a place upon