pect, architecture requires a greater stretch of art, as will be seen immediately; for as intrinsic and relative beauty must often be blended in the same building, it becomes a difficult task to attain both in any perfection.

The

In a hot country it is a capital object to have what may be termed a summer-garden; that is, a spot of ground disposed by art and by nature to exclude the sun, but to give free access to the air. In a cold country, the capital object should be a winter-garden, open to the sun, sheltered from wind, dry under foot, and taking on the appearance of summer by variety of evergreens. relish of a country life, totally extinct in France, is decaying fast in Britain. But as still many people of fashion, and some of taste, pass the winter, or part of it, in the country, it is amazing that winter-gardens should be overlooked. During summer, every field is a garden; but during half of the year, the weather is seldom so good in Britain as to afford comfort in the open air without shelter; and yet seldom so bad as not to afford comfort with shelter. I say more, that beside providing for exercise and health, a winter-garden may be made subservient to education, by introducing a habit of thinking. In youth, lively spirits give too great a propensity to pleasure and amusement, making us averse to serious occupation. That untoward bias may be corrected in some degree by a winter-garden, which produces in the mind a calm satisfaction, free from agitation of passion, whether

gay or gloomy; a fine tone of mind for meditation

and reasoning.*

Gardening being in China brought to greater perfection than in any other known country, we shall close our present subject with a slight view of Chinese gardens, which are found entirely obsequious to the principles that govern every one of the fine arts. In general, it is an indispensable law there, never to deviate from nature; but in order to produce that degree of variety which is pleasing, every method consistent with nature is put in practice. Nature is strictly imitated in the banks of their artificial lakes and rivers; which sometimes are bare and gravelly, sometimes covered with

* A correspondent, whose name I hitherto have concealed, that I might not be thought vain, and which I can no longer conceal, (Mrs Montagu), writes to me as follows: "In ، life we generally lay our account with prosperity, and seldom, "very seldom, prepare for adversity. We carry that propensity even into the structure of our gardens: we cultivate the gay ornaments of summer, relishing no plants but what flou"rish by mild dews and gracious sunshine; we banish from our "thoughts ghastly winter, when the benign influences of the "sun cheering us no more, are doubly regretted by yielding to “ the piercing north-wind and nipping frost. Sage is the gar"dener, in the metaphorical as well as literal sense, who pro"cures a friendly shelter to protect us from December storms, "and cultivates the plants that adorn and enliven that dreary "season. He is no philosopher who cannot retire into the "Stoic's walk, when the gardens of Epicurus are out of bloom: "he is too much a philosopher who will rigidly proscribe the "flowers and aromatics of summer, to sit constantly under the cypress shade.”

VOL. II.

To flat

wood quite to the brink of the water. spots adorned with flowers and shrubs, are opposed others steep and rocky. We see meadows covered with cattle; rice-grounds that run into lakes; groves into which enter navigable creeks and rivulets: these generally conduct to some interesting object, a magnificent building, terraces cut in a mountain, a cascade, a grotto, an artificial rock. Their artificial rivers are generally serpentine; sometimes narrow, noisy, and rapid; sometimes deep, broad, and slow: and to make the scene still more active, mills and other moving machines are often erected. In the lakes are interspersed islands; some barren, surrounded with rocks and shoals; others enriched with every thing that art and nature can furnish. Even in their cascades they avoid regularity, as forcing nature out of its course the waters are seen bursting from the caverns and windings of the artificial rocks, here a roaring cataract, there many gentle falls; and the stream often impeded by trees and stones, that seem brought down by the violence of the current. Straight lines are sometimes indulged, in order to keep in view some interesting object at a distance.

Sensible of the influence of contrast, the Chinese artists deal in sudden transitions, and in opposing to each other, forms, colours, and shades. The eye is conducted from limited to extensive views, and from lakes and rivers to plains, hills, and woods: to dark and gloomy colours are opposed the more brilliant the different masses of light and shade are disposed in such a manner, as to render the

composition distinct in its parts, and striking on the whole. In plantations, the trees are artfully mixed according to their shape and colour; those of spreading branches with the pyramidal, and the light green with the deep green. They even introduce decayed trees, some erect, and some half out of the ground.* In order to heighten contrast, much bolder strokes are risked: they some. times introduce rough rocks, dark caverns, trees ill formed, and seemingly rent by tempests, or blasted by lightning; a building in ruins, or half consumed by fire. But to relieve the mind from the harshness of such objects, the sweetest and most beautiful scenes always succeed.

The Chinese study to give play to the imagination they hide the termination of their lakes; and commonly interrupt the view of a cascade by trees, through which are seen obscurely the waters as they fall. The imagination once roused, is disposed to magnify every object.

Nothing is more studied in Chinese gardens than to raise wonder or surprise. In scenes calculated for that end, every thing appears like fairy-land; a torrent, for example, conveyed under ground, puzzles a stranger by its uncommon sound to guess what it may be; and to multiply such uncommon sounds, the rocks and buildings are contrived with

* Taste has suggested to Kent the same artifice. A decayed tree placed properly, contributes to contrast; and also in a pensive or sedate state of mind produces a sort of pity, grounded on an imaginary personification.

cavities and interstices. Sometimes one is led insensibly into a dark cavern, terminating unexpectedly in a landscape enriched with all that nature affords the most delicious. At other times, beautiful walks insensibly conduct to a rough uncultivated field, where bushes, briers, and stones interrupt the passage: looking about for an outlet, some rich prospect unexpectedly opens to view. Another artifice is, to obscure some capital part by trees, or other interposed objects: our curiosity is raised to know what lies beyond; and after a few steps, we are greatly surprised with some scene totally different from what was expected.

These cursory observations upon gardening, shall be closed with some reflections that must touch every reader. Rough uncultivated ground, dismal to the eye, inspires peevishness and discontent : may not this be one cause of the harsh manners of savages? A field richly ornamented, containing beautiful objects of various kinds, displays in full lustre the goodness of the Deity, and the ample provision he has made for our happiness. Ought not the spectator to be filled with gratitude to his Maker, and with benevolence to his fellowcreatures? Other fine arts may be perverted to excite irregular, and even vicious, emotions; but gardening, which inspires the purest and most refined pleasures, cannot fail to promote every good affection. The gaiety and harmony of mind it produceth, inclining the spectator to communicate his satisfaction to others, and to make them happy