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and the four circles may be berceaux, with hoops to support
creepers, or they may be grass plots with vases or statues. I
am aware that this will cause some alarm to those who fancy
all NATURE at variance with ART, and who will exclaim, that
it is going back to the old fashioned formal gardening of former
days: I answer by reminding them, that I am not now describ-
ing a Landscape, but a Garden; and " A GARDEN IS A WORK
"OF ART, USING THE MATERIALS OF NATURE."
Among the infinite variety of flowers which adorn the Gar-
den, there are some so minute, that they require being lifted
from the ground to meet the eye, and some so formed, that
they should be raised even above the eye, to shew their beauties
(such as the Fuscia, the Meadea, and other pendulous plants):
to provide for these, we will suppose four beds of fossils or
flints, or rocky fragments, for the reception of that interesting
class of plants, which requires such a soil and situation: these
are described on the Plan by purple and yellow. As occasional
spray from a fountain might wet the gravel walk, it should be
neatly paved with pebbles round the basin.
On that side of the Flower Garden which fronts towards the
south, is a house for peaches and strawberries, On the side
opposite, and in some degree corresponding, is a row of posts
with hoops to train creepers, and an architectural gate commu-
nicating-with the park, betwixt -two projecting lines of shrub-
bery, which are meant to consist of every kind of thorns, towards
the park to the south, and American plants towards the garden
to the north. This attention to north and south is very essen-