as to appear fully to account for, or be the cause of, the water-fall.

The axe of the original backwoodsman appears to have left such a mania for clearing behind it, even in those portions of the Atlantic states where such labor should be forever silenced, that some of our finest places in the country will be found much desecrated and mutilated by its careless and unpardonable use; and not only are fine plantations often destroyed, but the banks of some of our finest streams and prettiest rivulets partially laid bare by the aid of this instrument, guided by some tasteless hand. Wherever fine brooks or water courses are thus mutilated, one of the most necessary and obvious improvements is to reclothe them with plantations of trees and underwood. In planting their banks anew, much beauty and variety can often be produced by employing different growths, and arranging them as we have directed for the margins of lakes and ponds. In some places where easy, beautiful slopes and undulations of ground border the streams, gravel, soft turf, and a few simple groups of trees, will be the most natural accompaniments; in others where the borders of the stream are broken into rougher, more rocky and precipitous ridges, all the rich wildness and intricacy of low shrubs, ferns, creeping and climbing plants, may be brought in to advantage. Where the extent to be thus improved is considerable, the trouble may be lessened by planting the larger growth, and sowing the seeds of the smaller plants mingled together. Prepare the materials, and time and nature, with but little occasional assistance, will mature and soften, and blend together the whole, in their own matchless and inimitable manner.

From all that we have suggested in these limited remarks, it will be seen that we would only attempt in our operations

with water, the graceful or picturesque imitations of natural lakes or ponds, and brooks, rivulets, and streams. Such are the only forms in which this unrivalled element can be displayed so as to harmonize agreeably with natural and picturesque scenery. In the latter, there can be no apology made for the introduction of straight canals, round or oblong pieces of water, and all the regular forms of the geometric mode; because they would evidently be in violent opposition to the whole character and expression of natural landscape. In architectural, or flower gardens, (of which we shall hereafter have occasion to offer some remarks,) where a different and highly artificial arrangement prevails, all these regular forms, with various jets, fountains, etc., may be employed with good taste, and will combine well with the other accessories of such places. But in the grounds of a residence in the modern style, nature, if possible, still more purified, as in the great chefs d'œuvres of art, by an ideal standard, should be the great aim of the Landscape Gardener. And with water especially, only beautiful when allowed to take its own flowing forms and graceful motions, more than with any other of our materials, all appearance of constraint and formality should be avoided. If art be at all manifest, it should discover itself only, as in the admirably painted landscape, in the reproduction of nature in her choicest developments. Indeed, many of the most celebrated authors who have treated of this subject, appear to agree, that the productions of the artist in this branch, are most perfect, as they approach most nearly to fac-similes of nature herself: and though art should have formed the whole, its employment must be nowhere discovered by the spectator; or as Tasso has more elegantly expressed the idea:

"L'ARTE CHE TUTTO FA, NULLA SI SCOPRE."

SECTION IX.

LANDSCAPE OR RURAL ARCHITECTURE.

Difference between a city and a country house. The characteristic features of a country house. Examination of the leading principles in Rural Architecture. The different styles. The Grecian style, its merits and defects, and its associations. The Roman and Italian styles. The Pointed or Gothic style. The Tudor Mansion. The English Cottage, or Rural Gothic style. These styles considered in relation to situation or scenery. Individual tastes. Entrance Lodges.

"A house amid the quiet country's shades,

With length'ning vistas, ever sunny glades;
Beauty and fragrance clustering o'er the wall,
A porch inviting, and an ample hall."

RCHITECTURE, either practically considered, or viewed as an art of taste, is a subject so important and comprehensive in itself, that volumes would be requisite to do it justice. Buildings of every description, from the humble cottage to the lofty temple, are objects of such constant recurrence in every habitable part of the globe, and are so strikingly indicative of the intelligence, character, and taste of the inhabitants, that they possess in themselves a great and peculiar interest for the mind. To have a "local habitation,"-a permanent dwelling, that we can give the impress of our own mind, and identify with our own existence, -appears to be the ardent wish, sooner

or later felt, of every man : excepting only those wandering sons of Ishmael, who pitch their tents with the same indifference, and as little desire to remain fixed, in the flowery plains of Persia, as in the sandy deserts of Zahara, or Arabia.

In a city or town, or its immediate vicinity, where space is limited, where buildings stand crowded together, and depend for their attractions entirely upon the style and manner of their construction, mere architectural effect, after convenience and fitness are consulted, is of course the only point to be kept in view. There the façade which meets the eye of the spectator from the public street, is enriched and made attractive by the display of architectural style and decoration; commensurate to the magnitude or importance of the edifice, and the whole, so far as the effect of the building is concerned, comes directly within the province of the architect alone.

With respect to this class of dwellings, we have little complaint to make, for many of our town residences are highly elegant and beautiful. But how shall we designate that singular perversity of taste, or rather that total want of it, which prompts the man, who, under the name of a villa residence, piles up in the free open country, amid the green fields, and beside the wanton gracefulness of luxuriant nature, a stiff modern "three story brick," which, like a well bred cockney with a true horror of the country, doggedly seems to refuse to enter into harmonious combination with any other object in the scene, but only serves to call up the exclamation,

Avaunt, stiff pile! why didst thou stray
From blocks congenial in Broadway!

Yet almost daily we see built up in the country huge combinations of boards and shingles, without the least attempts at adaptation to situation; and square masses of brick start up