Repton, Humphry, 1752-1818 / Observations on the theory and practice of landscape gardening: including some remarks on Grecian and Gothic architecture, collected from various manuscripts, in the possession of the different noblemen and gentlemen, for whose use they were originally written; the whole tending to establish fixed principles in the respective arts
Chapter V: Woods--Whateley's remarks exemplified at Shardeloes--intricacy--variety--a drive at Bulstrode traced, with reasons for its course--further example from Heathfield Park--a belt--on thinning woods--leaving groups--opening a lawn in great woods--example Chashiobury, pp. 60-64
6o CHAPTER V. Woods. - Whateley's Remarks exemplified at SHARDELOES.-In-, tricacY-Variet-A Drive at BU.LSTRODE traced, with Reasons for its Course-Further Example from HEATHFIIELD PARK- A Belt-On thinning Woods-Leaving Groups-Opening a Lawn in great Woods-Example CHASHIOBURY. "OBSRVATIONS on Modern Gardening," by the -late Mr. Whateley, contain some remarks peculiarly applicable to the improvement of woods, and so clearly expressive of my own sentiments, that I beg to introduce the ample quotation inserted in the note; especially as the annexed drawing conveys a "The outline of a wood may sometimes be great, and always be beautiful; the first requisite is irregularity. That a mixture of trees and underwood should form a long straight line, can never be natural, and a succession of easy sweeps and gentle rounds, each a portion of a greater or less circle, composing altogether a line literally serpentine, is, if possible, worse: it is but a number of regularities put together in a disorderly manner, and equally distant from the beautiful, both of art and of nature. The true beauty of an outline consists more in breaks, than in sweeps; rather in angles, than rounds; in variety, not in succession. "The outline of a wood is a continued line, and small variations do not save it from the insipidity of sameness; one deep recess, one bold pronlinence, has more effect than twenty little irregularities: that one divides the line into parts, but no breach is thereby. made in its unity; a continuation of wood always remains, the form of it only is altered, and the extent is increased: the eye, which hurries to the extremity of whatever is uniform, delights to trace a varied line through all its intricacies, to pause from stage to stage, and to lengthen the progress.
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