It may perhaps be asked here, whether the new varieties of American and other shrubs, obtained since the introduc tion of landscape gardening, are to be admitted under this style of improvement ? We answer, certainly. There can be little doubt they would destroy part of the allusion to an ancient place ; but we do not contend for the revival of the ancient sty le, as producing imitations and illusive charac ters, or on account of its antiquity, but as a distinct mode of 1;ardening. We would therefore not copy its faults, or study its defects, but add to its beauties, from all the re sources furnished by the present improved state of the arts of design, as well as by the continued accession to our stock of trees and shrubs.
The manner of disposing the plants is influenced by the same principle of al ()Wed art ; in rows, equidistant masses, in squares. or in quincunx, and in every case so as never to be nest. ken for trees or shrubs sprung up accidentally.
P'encea.—Here the ancient style has a grand advantage over toe nio:tern, in which, as far as respects the imitation of nature. all fences are to be considered as temporary, and therefere to a certain degree looked on as nuisances to be f.I c r%1 ards removed. B sides, their irregular and circuit ous line is displeasing to many who do not understand ground plans, with a view to picturesque beauty, when the trees are grown up. But in geometric gardening, fences are to be considered in many cases as objects, and when not regarded in this light, their directions and limits are so minutely pointed out by the determined outline of the plan tations, that the eye acquiesces in their situation and use. Fences of any common and economical description arc em ployed to protect the trees of open avenues, open groves, and single open rows. But the more common kind are walls, which in the prominent parts ought to be well built of shaped stone, and substantially finished by raised or flat copings, bearing some relation to the copings of the sim pler parapets of the house. The gates necessary in these walls, as well as in some sorts of permanent verdant fences, supply occasion for such architectural forms and lines, as 2.-a advantageous in reflecting those of the mansion, and F rengthening the prevailing idea of dignity, art, and design. ..'very sort of fence belonging to the modern style, may be occasionally employed in the ancient, and besides walls, half sunk walls, and raised mounds with a walk at top, we may enumerata holly, yew, laurel, and other shrubs, either simple or chequered, by alternate deciduous or evergreen species, varied by arcades and standards, shorn ihto shapes, or in their natural growth. Hedges of flowering shrubs may also be introduced ; of creepers on open palisades ; and various others of great beauty may be invented, or are to be found in books on this style of gardening.
Managernent.—In respect, also, the advantage is greatly' in favour of the ancient style; for, as all operations of pruning and thinning in the other should be done under the eye of the landscape gardener, so all these operations here may be performed by any labourer ; the ohject being sim ply to produce a straight upright smooth stem, to ascertain height according to circumstances, and allow each particu lar tree to attain its full size. Shearing or clipping is always a mere mechanical operation; plain hedges, and close alleys, require only a line for a guide ; and in the case of arcades, or verdant sculpture, there is, or always should be, a frame of trellis work of correct design, to guide the gam dener.
From the comparative brevity of this view which we have taken of planting under the ancient style, the reader will perceive, that we are far from supposing it to take the lead of the natural method. to which we now proceed, re ferring for more particular information to Le Blond, and other French authors ; and to Switzer's Ichnographia Rustica.
This subject we shall consider as it respects the effect of the whoic, the parts, the natural surface, species of tree, manner of planting, fences, and management.
I. The effect of the whole, as we have had repeatedly occasion to observe, is always the first and the grand con sideration in every work of art, whether that art has for its end the creation of objects of invention or imitation. All planting, as respects the formation of a country residence, .must necessarily he materially influenced by the character and situation of the house, as the capital feature in the com position. To this feature, the leading masses of wood and lawn, answering the end of light and shade in painting, must invite and direct the eye in the general view of the place. Each must embrace it on one or on more sides, and diverge from it in masses suitable to its magnitude and the extent of the grounds, and in forms and characters of woody surface, suitable to the natural situation and the ex pression to be created. If the mansion is on a declivity, the principal light should embrace the front which looks down, rather than those which look up, or on either side. The views from the windows suggest this arrangement, and will point out in every other situation, whether a flat, a hill, or an irregular surface, on which side or sides, the leading masses are to have their origin. To determine their magnitude, form, and number, would be impossible, without a plan or particular case to refer to. To point out their style is sufficient, which must always be irregular like nature ; generally stretch along such rising grounds as the situation affords ; and, like her, always combining a certain degree of uniformity or recognizable shape, even amidst the greatest seeming deviations from this quality of figures.