a time, but they cannot long be interesting unless made habito able; therefore the whole art of landscape-gardening may properly be defined, The pleasing combination of art and nature, adapted to the use of man.

“During the last ten years,” continues our author, “ the art of Landscape-gardening, in common with all other arts that depend on peace and patronage, has felt the influence of war and war-taxes, which operate both on the means and the inclination to cultivate the arts of peace. These have languished under the impoverishment of the country, while the sudden acquisition of riches by individuals, has diverted wealth into new channels; men are solicitous to increase property rather than to enjoy it; they endeavour to improve the value, rather than the beauty of their newly purchased estates. The countrygentleman in the last century took more delight in the sports of the field than in the profits of the farm; his pleasure was to enjoy in peace, the venerable home of his ancestors: but the necessity of living in camps, and the habit of living in lodgings, or at watering places, have of late totally changed his character and pursuits ; and at the same time, perhaps, tended to alienate half the ancient landed property of the country. .

" It is not therefore to be wondered at, that the art of landscape-gardening should have slowly and gradually declined. Whether the influence of returning peace may revive its energies, or whether it is hereafter to be classed among the artes perditæ,' the author hopes its memory may be preserved a little in the following pages.” Fragment I. On Rural Architecture. - Mr. Repton disclaims

· the idea, that the whole science of Grecian architecture consists in the five orders of columns; and that of Gothic in pointed arches and notched battlements. When a professional man is employed, recourse is had to the best specimens and proportions of columns, pilasters, entablatures, pediments, &c. represented in books, or copied from remains of ancient fragments in Greece, or Italy. “But unfortunately all these relate to temples or public edifices, and consequently to make the · dwelling habitable in this climate, modern sash windows must

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be added to these sacred forms of remote antiquity. Thus, some Grecian or Roman temple is surprised to find itself transported from the Ilyssus or the Tiber, to the shores of the Thames, or to the tame margin of a modern stagnant sheet of water.

“ If the Gothic character be preferred, the architect must seek for his models among the fragments of his own country: but again, unfortunately, instead of houses, he can only have recourse to castles, cathedrals, abbeys, and colleges ; many of which have been so mutilated and disfigured by modern repairs, by converting castles into palaces, and changing convents into dwelling-houses, that pointed arches and battlements have become the leading features of modern Gothic buildings. The detail of parts is studied, but the character of the whole is overlooked. No attention is given to that bold and irregular outline which constitutes the real basis and beauty of the Gothic character; where, instead of one uniform line of roof and front, some parts project, and others recede: but wherever the roof is visible over the battlements, it seems as if it rose to proclaim the triumph of Art over Science, or Carpentry over Architecture.

“ The remaining part of this subject more peculiarly belongs to the landscape gardener, whose province it is to consider the effects of nature and art combined. Let us examine the two different styles in two separate landscapes. In the quiet, calm, and beautiful scenery of a tame country, the elegant forms of Grecian art are surely more grateful and appropriate than a ruder and severer style; but on the contrary, there are some wild and romantic situations, whose rocks, and darting mountainstreams, or deep umbrageous dells would seem to harmonise with the proud baronial tower, or mitred abbey, "embosomed high in tufted trees,' as tending to associate the character of the building with that of its native accompaniment. The outline of a building is never so well seen, as when in shadow, and opposed to a brilliant sky; or when it is reflected on the surface of a pool: then the great difference betwixt the Grecian and Gothic character is more peculiarly striking."

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Fragment II. Symmetry. In all plain fronts, symmetry, we are told, becomes essentially necessary; and therefore we expect to see the door in the centre of the building. This arrangement in small houses, however, tends to destroy interior comfort, by dividing from each other the chief apartments, which a family is now supposed to occupy.

“ If the principal rooms command a south-east aspect, (which is doubtless the most desirable,) the entrance in the centre, with a hall or vestibule, destroys that uniformity of temperament, so obviously useful to the comfort of an English dwelling; and therefore, in at least one half of the houses submitted to my opinion, I have found it necessary to change the hall into a saloon, or the vestibule into an anti-room; making the entrance either. in the side, or at the back of the house, and converting the lawn to the south, into pleasure ground, or flower garden, or a broad terrace dressed with flowers. This of course makes a total change in the arrangement of all those appearances in which the comfort of the houses in the country differ so much from those in town; in the latter, the offices of every description are under ground; and the various court yards, &c. for which there is no space, (as in the country), must be provided for in areas or cellars under the street.

“ If the centre of a building be marked with a portico, or such a visible entrance as invites the stranger to approach it, some impediment or obstruction becomes necessary to counteract the habitual respect for symmetry, and prevent our inclination to drive up to a door, which is no longer the principal entrance, and this requires a fence, to indicate that it is the garden front and not the entrance front.”

Fragment IV. Concerning Cobham-hall, Kent. - We are told, that in point of extent, magnificence, or comfort, but few places can vie with this seat of the Earl of Darnley. When our author first visited it, the outside was deficient in uniformity, while all within was cold and cheerless. Mr. Repton converted the great hall into a music-room; the rest of the central building was fitted up for a library, looking into a flower-garden; while the entrance was removed to the north front.

“ The operations were begun by enveloping the whole of the premises in plantations, shrubberies, or gardens; and . these, after the growth of twenty-five years, have totally changed the character of the place. The house is no longer a huge pile, standing naked on a vast grazing ground; its walls are enriched with roses and jasmines ; its apartments are perfumed with odours from flowers surrounding it on every side ; and the animals which enliven the landscape, are not admitted as an annoyance. All around is neatness, elegance, and comfort; while the views of the park are improved by the rich foreground, over which they are seen from the terraces in the garden, or the elevated situation of the apartments.

“ On the whole, Cobham furnishes a striking example of artificial arrangement for convenience, in the grounds immediately adjoining the house, contributing to the natural advantages of its situation and scenery, and enriched by the most luxuriant foliage and verdure. The home views give a perfect idea of what a park ought to be, without affecting to be a forest; for although its extent of domain might warrant such a character, there is a natural amenity in the face of the country, that is more beautiful than romantic, more habitable than wild ; and though in the valleys, the view is not enlivened by water, which in a chalk soil is not to be expected, yet from the elevated points of the park, two of the most important rivers of England, the Thames and the Medway, form part of the distant prospect." Fragment V.

On Dates of Buildings. - A cottage, or keeper's house, having been deemed necessary at Apsleywood, about three miles from Woburn-abbey, the Duke of Bedford expressed a desire to have one of the style and date of buildings prior to the reign of Henry VIII.” of which only some imperfect fragments now remain. Adjoining to this little building, of which a plate is given, an attempt has been made to assimilate a garden in the same style and character, and the annexed plate, furnishes an example of both.

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“A communication of some curious specimens of timberhouses was made to the Society of Antiquarians in 1810, which were ordered to be engraved and printed for the Archäologia. But this building does more than any drawing, to exemplify many of the parts which have been thus rescued from the effects of time.” Mr. Repton appears to have displayed much taste, and to have spared neither pains nor money on the present occasion.

Fragment VI. On Castles. The author here presents an imaginary specimen, in form of a drawing, to explain certain leading principles, for all of which combined he could refer to no irregular Gothic buildings, except such as were in ruins.

“ Although many attempts have recently been made to produce modern Gothic castles, yet the great principle on which the picturesque effect of all Gothic edifices must depend, has too generally been overlooked : viz. irregularity of outline; 1st, at the top by towers and pinnacles or chimneys; secondly, in the outline of the faces or elevations by projections, and recesses; thirdly, in the outline of the apertures, by breaking the horizontal lines with windows of different forms and heights ; and lastly, in the outline of the base, by the building being placed on ground of different levels.

“ To all these must be added detached buildings, which tend to spread the locality, and extend the importance, of the principal pile, in which some one feature ought to rise boldly above the rest of the irregular mass, while the whole should be broken, but not too much frittered into parts by smaller towers, or clusters of lofty chimneys. After all, no building can appear truly picturesque, unless in its outline the design be enriched with vegetation, (such as ivy, or other creeping plants;) and the colouring, by those weather-stains, which time alone can throw over the works of art, to blend them with the works of nature, and bring the united composition into pleasing harmony.” Fragment IX. Concerning Windows. -- " There is no sub

- * ject connected with landscape-gardening of more importance, or less attended to, than the window through which the land