The art of landscape gardening . ea may be preserved in a thatched hovel sup-ported by rude trunks of trees ; yet, as the beauty ofsuch an object will greatly depend on the vegetation, itshould be planted with ivy or vines, and other creep-ing plants should be encouraged to spread their foliageover the thatch. The principal view from the house at Blaize Cas-tle is along that rich glen of wood through which theapproach has been made, as already described : in thisview, the castle, although perfectly in harmony withthe solemn dignity of the surrounding woods, increasesrather than relieves that a
The art of landscape gardening . ea may be preserved in a thatched hovel sup-ported by rude trunks of trees ; yet, as the beauty ofsuch an object will greatly depend on the vegetation, itshould be planted with ivy or vines, and other creep-ing plants should be encouraged to spread their foliageover the thatch. The principal view from the house at Blaize Cas-tle is along that rich glen of wood through which theapproach has been made, as already described : in thisview, the castle, although perfectly in harmony withthe solemn dignity of the surrounding woods, increasesrather than relieves that apparent solitude-which is toosombre for the character of a villa. Some object was wanting to enliven the scenery:a temple, or a pavilion, in this situation, would havereflected light, and formed a contrast with the darkwoods ; but such a building would not have appearedto be inhabited; this cottage [Plate xvi] thereforederives its chief beautyfrom that which cannot easily beexpressed by painting—the ideas of motion, Theory AND Practice 183 and inhabitancy, contrasted with those of stillness andsolitude. Its form is meant to be humble, withoutmeanness; it is and appears the habitation of a labourerwho has the care of the neighbouring woods; its sim-plicity is the effect of art, not of neglect or accident;it seems to belong to the mansion, and to the moreconspicuous tower, without affecting to imitate thecharacter of either. The propensity for imitation, especially where nogreat trouble or expense is incurred, has made treillageornaments so common that some observations con-cerning them may be expected in this work, especiallyas I believe I may have contributed originally to theirintroduction ; but I little thought how far this flimsyornament might be misapplied. The treillages of Versailles and Fontainebleau wereof substantial carpentry, preserving architectural pro-portions, in which plants were confined and clipped toform a sort of vegetable and architectural ber
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