lacking the formal inspiration of the previous style and lacking also any sufficient inspiration of its own, soon palled even upon those who had first greeted it with enthusiasm. Novelty was secured by the introduction of Chinese pagodas and other oriental details to which the accounts of visitors to the East had turned the public attention, and by the fanciful buildings of the ferme ornée. (For a later French example, see Drawing XII, opp. p. 84.) And designers found again in the literature of the time a new impetus to an ideal which landscape design might strive to express. In France, the Romantic movement had attained full expression in the works of J. J. Rousseau, and people, already familiar in literature with the conscious cultivation of emotions, were turning to Nature for some indefinable primal excellence not found in the works of man. The "jardin anglais," imported eagerly as a novelty and as a protest against formalism, acquired a new significance by the introduction of objects and the arrangement of scenes each with the express purpose of arousing a certain emotion in its observers. The particular phase of the "landscape school" thus accentuated spread rapidly on the continent and in England where it had had early beginnings in such a garden as Stowe.* This may well be called the Romantic landscape style. (See Plates 2 and 3.) Its designers seized upon and increased to the best of their abilities the natural characters which were at hand and were capable of producing such emotions as grandeur or desolation or melancholy; but in the great majority of cases the natural features within the limits of their designs were not capable of producing in their hands the striking emotional effects which they sought, and they had recourse to all sorts of expedients, which through associational appeal — usually through some human interest - were supposed to arouse the emotions desired. Weeping willows added their sentiment to the scene. Dead trees were set up, perhaps to increase the effect of wild naturalness as well as to stimulate a feeling of melancholy in their decay. Artificial ruins were constructed for the sake of a romantic human interest; even tombs of imaginary heroes or heroines were built, and appeals were made even more simply to the pleasures of the imagination by * See Stowe: a Description of the Magnificent House and Gardens, with illustrations, of which the first edition appeared in 1744. setting up inscriptions to different deities in different spots, and quotations from the works of various authors which were supposed to be in accordance with the scenes in which they were placed.* In England these excesses soon wore themselves out† and a more rational landscape style took its place in the work of Repton,‡ as it did in Germany in the work of Sckell and Pückler-Muskau.§ (See Plate 21.) In Germany, however, the Romantic landscape style came perhaps to its worst and most heavy-handed extreme. Some designs, as for instance, Wilhelmshöhe, near Cassel, are indisputably successful in producing an emotional effect, but whether this effect will be interest and excitement or sheer horror will depend on the sensitiveness of the observer. When Henry VIII dispossessed the monks from their holdings in England, the new owners of the lands built houses and in many cases laid out gardens in accordance with the importance and state which they meant to keep up. There was a sudden and considerable increase in interest in the arrangement of landed estates. For a time at least there was little seeking outside of England for a new style of garden building; the work was done in accordance with the habits and taste of the owners, and with the materials of plant and stone that were found at hand. The soil of England is fertile, the climate moist and temperate, the sun more frequently hidden behind clouds or veiled in haze than shining with a brilliancy to make outdoor life unpleasant *The inscriptions so used in M. de Girardin's estate, which he designed himself may be found in the Promenade ou Itinéraire des Jardins d'Ermenonville, with illustrations by Mérigot, 1788. See also the illustrations of Laborde's estate, Méréville, in his Descriptions des Nouveaux Jardins de France, 1808 —, plates 44-57. † Cf. the work of Whately, Observations on Modern Gardening, first published 1770. (See REFERENCES.) ‡“I do not profess to follow either Le Nôtre or Brown, but selecting beauties from the style of each, to adopt so much of the grandeur of the former as may accord with a palace, and so much of the grace of the latter as may call forth the charms of natural landscape. Each has its proper situation; and good taste will make fashion subservient to good sense." Repton, Theory and Practice of Landscape Gardening, 1805, p. 125. In Chapter X, Ancient and Modern Gardening. (See REFERENCES.) § Repton, Sckell, and Pückler-Muskau are important not only as designers but because of the considerable writings in which they left a record of their opinions. The English Formal Style of the Tudors except in the shade. The people, even the nobles, who built these gardens, were lovers of the outdoors and had a great deal of homely common-sense knowledge of the processes of agriculture and gardening. The laborers who actually did the work of construction and maintenance had been for generations on the same land. They were slow, conservative, and trained in definite and practical ways of doing their work. The designs of these estates were usually the work of the owners, helped it may be by some one of more trained taste, or realizing on their own land some memory of designs which they had seen in France and Italy, but in any case adapting their means to their ends with a very practical recognition of the influence of local material and individual use. Decorative flower beds they doubtless had in early days, and flowers against the walls of the houses and in protected places, grown for their sweet scent and for their bright colors in a dull atmosphere where bright color is particularly to be desired, and where the moisture is favorable to their luxuriant growth. The garden of sweet herbs, the garden of simples, was as often as not a part of the same scheme as the garden of flowers. The smooth texture of velvety turf with the shade of great free-standing trees gave beauty and dignity to their grass terraces and to the level expanses of bowling-greens and lawns for archery. There were pleached arbors and alleys for shady walks and for outdoor resting-places. The same workmanlike but fanciful use of the materials of stone and brick which give the buildings of the period much of their charm appeared also in the walls, steps, and balustrades of the gardens as, for instance, at Montacute House. Water in pools was used sometimes purely for decoration but more often served also the practical purpose of a fish pond. An old device was still common, the mount, whence a man might look not only over his own inclosed gardens but out across the countryside. The grounds were arranged for outdoor living and active use, and their designers drew no hard and fast line between such areas as might be considered as entirely decorative and such as were in part at least devoted to economic purposes. The separate areas immediately about the dwelling were for the most part formal, but the garden with its walks and hedges, the terrace with its curious knots of flowers, were designed each for itself, and there was little attempt at any relation of these areas in a general formal scheme |