keep these expressions constantly in view, and we hope we shall be able fully to illustrate the difference in the expression of even single trees, in this respect. A few strongly marked objects, either picturesque, or simply beautiful, will often confer their character upon a whole landscape; as the destruction of a single group of bold rocks, covered with wood, may render a scene, once picturesque, completely insipid.

The early writers on the modern style were content with trees allowed to grow in their natural forms, and with an easy assemblage of sylvan scenery in the pleasure-grounds, which resembled the usual woodland features of nature. The effect of this method will always be interesting, and an agreeable effect will ever be the result of following the simplest hints derived from the free and luxuriant forms of nature. No residence in the country can fail to be pleasing, whose features are natural groups of forest trees, smooth lawn, and hard gravel walks.

But this is scarcely Landscape Gardening in the true sense of the word, although apparently so understood by many writers. By Landscape Gardening, we understand not only an imitation, in the grounds of a country residence, of the general forms of nature, but an expressive, harmonious, and refined imitation.* In Landscape Gardening, we should aim

"Thus, there is a beauty of nature and a beauty of art. To copy the beauty of nature cannot be called being an artist in the highest sense of the word, as a mechanical talent only is requisite for this. The beautiful in art depends on ideas, and the true artist, therefore, must possess, together with the talent for technical execution, that genial power which revels freely in rich forms, and is capable of producing and animating them. It is by this, that the merit of the artist and his production is to be judged; and these cannot be properly estimated among those barren copyists which we find so many of our flower, landscape, and portrait painters to be. But the artist stands much higher in the scale, who, though a copyist of visible nature, is capable of seizing it with poetic feeling, and representing it in its more dignified sense; such for example as Raphael, Poussin, Claude, &c."-WEINBREUNer.

to separate the accidental, and extraneous in nature, and to preserve only the spirit, or essence. This subtle essence lies, we believe, in the expression, more or less pervading every attractive portion of nature. And it is by eliciting, preserving, or heightening this expression, that we may give our landscape gardens a higher charm, than even all the polish of art can bestow.

Now the two expressions in nature most suitable for imitation, lie in Beauty's flowing, graceful outlines; and in the irregular, spirited forms of the Picturesque. The Sublime, and the Grand, characters that abound in nature, scarcely come within the limits of artificial imitationcertainly not in the extent of most places in America.

On the other hand, the GRACEFUL, and the PICTURESQUE, are characters abounding even in small portions of nature. In the grounds of a country residence, the force of these expressions may often be greatly increased. Frequently a group of trees, a rounded, or an abrupt knoll, situated prominently, will give a hint for all future improvement.

If we choose a bit of scenery naturally flowing and beautiful in its outlines, we heighten that expression by the refinements of care and culture; by our smoothly mown lawns, curved walks, rich groups of flowering shrubs and trees. If we fall upon a picturesque locality, we may add to its charm, both by the removal of every thing inharmonious or out of keeping, and by winding the walks, selecting and planting the shrubs and trees, adapting the style of the buildings, and, in short, conducting all our improvements, with an eye to picturesque expression.

There is no surface of ground, however bare, which has not, naturally, more or less tendency to one or the other of these expressions. And the improver who detects the true

character, and plants, builds, and embellishes, as he shouldconstantly aiming to elicit and strengthen it-will soon arrive at a far higher and more satisfactory result, than one, who, in the common manner, works at random. The latter may succeed in producing pleasing grounds-he will undoubtedly add to the general beauty and tasteful appearance of the country, and we gladly accord him our thanks. But ⚫ the improver who unites with pleasing forms, an expression of sentiment, will affect not only the common eye, but, much more powerfully, the imagination, and the refined and deli

cate taste.

Expression being the master key to the heart, in all landscapes, it follows that the highest imitative sphere of the art of Landscape Gardening, consists in arranging the materials so as to awaken emotions of grace, elegance, or picturesqueness, joined with unity, harmony, and variety, more distinct and forcible, than are suggested by natural scenery. This may, at first sight, seem difficult, to the mere lover of nature; but a moment's thought will convince him, that the very fact of art and man's habitation being contrasted, as it is in a Landscape Garden, with a natural expression, will at once heighten the force of the latter. The sunny, peaceful lake is less smiling, and the impetuous mountain cascade less stirring, when we cross them in a wild journey, than when they open upon us, unlooked for, in the luxuriant grounds of a well kept, rural home.

With these views regarding expression in natural scenery, we shall divide the modern style of Landscape Gardening into two kinds, founded on the two leading expressions to be imitated, viz: the graceful and the picturesque ; and, these two divisions having each their especial admirers, we shall distinguish them as the Graceful, and the Pictu