from the rains, transplanting, or other accidental circumstances. The plants should be arranged according to their natural affinities, as affording the greatest assistance to the memory, and presenting the most pleasing general view of the different species constituting the natural order. I am, dear Sir, yours very sincerely, New Cross Nursery, Nov. 30th, 1825. ART. IV. Remarks on Mr. Thompson's Observations on the Effect of the Lombardy Poplar in Park Scenery. By RICHARD MORRIS, Esq. F. L. S., Surveyor and Landscape Gardener. THE poplar, as an ornamental tree, does not possess beauty, grandeur, or the qualifications of the picturesque; yet in combination it may, for the purpose of opposition of character, be introduced into scenery with advantage; and it is upon this principle that Mr. Thompson recommends this tree to notice. No one can differ from Mr. T. upon the rule on which his recommendation rests, "that horizontal lines should be balanced and supported by perpendicular lines ❞— what induces me to make any comment upon his illustration of this subject, is to endeavour to prove a better adaptation of forms to the scenery presented; and to show, that although horizontal lines require to be balanced and supported by perpendicular lines, much depends on the contour, forms, and outlines of the adjacent objects and scenery. Although Mr. T. has studied well the description of his subject, he has not succeeded so well in the elucidation. In the sketch, No. 1. of his article upon this subject, in the first Number of the Gardener's Magazine, in illustrating his argument, he has introduced perpendicular forms which are prejudicial to both pictorial and scenic beauty. I agree with Mr. T. that the bridge requires perpendicular forms to oppose its horizontal lines, but the plantation behind the bridge, where by the intermixtures of poplars an agreeable irregularity of outline is produced, would have been sufficient for this purpose, at least as far as poplars should contribute their aid. From the manner in which this plantation ranges with the scenery, it was indispensable to introduce poplars, otherwise the broad masses of foliage would have formed an horizontal and somewhat parallel line with the top of the bridge, which would have been offensive to the eye, and would have frustrated the intention. Since perpendicular forms are introduced in the fore-ground, this plantation at the back, viewed as regards pictorial effect, is unnecessary as a mean for introducing perpendicular forms. Had merely an undulating character been preserved instead of so decided an irregularity of outline, the grandeur of the effect would have been much enhanced; for then the straight lines of the bridge, the curved line of the retiring plantation, and the rude outline of the distant mountain, would have supported each other mutually. Add to this, that lofty objects ever contribute toward a deception; and though this deception may sometimes be advantageous, it is more frequently injurious by causing objects to appear much nearer than their true situation, and consequently the distant scenery which they illustrate will appear to approach: the introduction of a few poplars in the fore-ground would have been a sufficient opposition of forms - this is elucidated in the sketch below. (fig. 15.) 15 Here perpendicular forms are employed in opposition to those which are horizontal, in addition to which curved lines are introduced, thereby illustrating that carved as well as perpendicular lines agreeably oppose horizontal lines; and although it be admitted that horizontals require perpendiculars for the purpose of opposition, still it should be remembered that low and broad, require lofty objects for their support: thus, in the fore-ground, broad masses of foliage are introduced, mixed with the spiral form of the poplar to contrast with them. With regard to the introduction of poplars in scenery generally, they should be so dispersed as never to appear alone. Their decided stiff form is objectionable either in nature or in representation, unless supported towards their base by some contrasting foliage and forms. In park scenery it would be highly objectionable to introduce poplars, either singly or in groups, unsupported by any other trees, as their style of growth is so much at variance from that natural irregulari'y of character so essential to the picturesque. Where they are embodied in plantations of various characters of growth, their towering forms may contribute to produce grace, dignity, or grandeur. The effect of this composition Mr. Thompson has happily elucidated in his sketch No. 3. With respect to the continued lines of reflection produced in the water, I imagine that this would have been considerably improved by the introduction of pendant forms, as the weeping willow, which, assisted by trees of a more circular character, in conjunction with that of the poplar, would have very much enhanced the beauty of the scenery. 45. Vincent Square, February, 1826. ART. V. Remarks on the Effect of the Cedar of Lebanon, in Landscape. By JOHN THOMPSON, Esq. Pictorial Draughtsman, and Student of Landscape Gardening. THE cedar of Lebanon assumes a very romantic and imposing appearance, and from its frequent mention in sacred history, is ever associated with ideas of grandeur and architectural magnificence. There is even something architectural in its form; the thick upright stem, supporting the horizontal branches, in a great measure accord with the pillars and copings of buildings. This may be seen by reference to the inspired pictures of Martin, when Assyrian history has been the subject of his pencil. He has realized all that the most vivid imagination could conceive of Eastern splendour and the famous hanging gardens have not been forgotten. In them the cedar is the most prominent tree, which he has shown mixed with cypresses, and a few low shrubs and flowers forming a mass simple but grand, and quite in unison with the architectural character of the scene. The accompanying sketch (fig. 16.) is from an etching of the destruction of Babylon, and represents part of the hanging gardens. Thus it may be inferred that cedars should always be the accompaniment of palaces, public buildings, and superior residences, though they are seldom met with so situated. 16 The finest I have seen are at Blenheim; but even there they are not much contrasted with the architecture, but are spread generally throughout the whole of the gardens; and they appeared to me in a great measure lost from being so mixed up with other trees and shrubs; however, they serve to maintain the character of grandeur which belongs to this place. On the banks of the great lake, where the present Duke, since he left White Knights, has formed his new flowergarden, extending from the house to the cascade, there are some very fine cedars, and it is curious how well they accord with the simplicity of flower and garden scenery; but this may be accounted for by their being supported by other large from the extensiveness of the gardens, and from every thing around being on so grand a scale. For there are some garden scenes in which they would be found not only misplaced, but out of character and injurious; as in the grounds of a small modern villa, such as are to be found five or ten miles from town; there they would be quite at variance with our ideas and associations, as to what should attach to such a place. The accompanying sketch (fig. 17.) though i trees 17 forms a tolerable picture, will, I trust, illustrate what I have been stating. The villa is rendered insignificant by the stately presence of the cedars; and the cedars seem to have been there before the villa was built, as if they came by accident, and were foreign to the scene. In the next sketch (fig. 18.) where I have supplied their place with a few pun lent 18 and appropriate trees, the whole seems more consistent, more complete, and in better keeping. The form and character of the cedar is not suited to any thing on a small scale, or that betrays want of effect in its architectural features, or in the disposition of the ground: thus one would not place them in the centre of a home meadow, or arable field, where oaks and elms are sometimes met with, having a very good effect; nor should they ever appear where the scenery is either domestic, or homely, or tame. Nothing annoys me more than to find a cedar, a cypress, or other stately tree, contrasting itself with hay-stacks, and dove-cotes, in the garden of some old farm-house, which, though little remain of its former greatness, might originally have been the residence of the lord of the manor, or some titled person: yet some of these old-fashioned red-brick residences are to be occasionally met with in their original state; their terraces adorned with vases and figures; the gardens in the old geometric stile, with costly iron palisading, &c.; then the addition of a few venerable cedars will generally form a highly picturesque and pleasing view. The cedar will not bear to be planted too thickly, or too close together; it should be placed by twos and threes in conspicuous situations, such as on small mounds, or by the side of water, next bridges or temples; sometimes on lawns, or rising grounds that command extensive prospects, where it may serve as a fore-ground; but they must not be made common by being seen at every turn: too many of them will always destroy their effect, they are of such an exclusive character, that they are more calculated to act upon a scene |