DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19489#0040
8 THE FORMAL GARDEN IN ENGLAND i.
gardening, has the courage to define what he
calls his art : " The art of landscape gardening
may be stated as the taking true cognisance
of nature's means for the expression of beauty,
and so disposing those means artistically as to
co-operate for our delight in given conditions."
This is a hard saying, put in plain English it
seems to amount to this: "Fix upon certain
passages that you like in natural scenery, and
then reproduce them under artificial conditions."
By observation of natural scenery the landscape
gardener is to form certain generalisations to
guide his practice. Here are some of the
results of Mr. Milner's studies : " A calculated
shadow on a lawn is a resource of value for the
artistic use of natural effect. In every situation
a beyond implies discovery and affects the
imagination ; the area is circumscribed of which
we can take cognisance too readily and com-
pletely ; imagination is then confused or
frustrated. The beauty of water, in motion or
still, is of universal acceptance. The created
character of a water feature must be consonant
with the surrounding land, for fitness to
surrounding conditions is a measure of beauty
to both ; a lake expresses spaciousness, but
much of its charm is due to its outline."
There is a curious irrelevance about these
apothegms which reminds one of Ollendorf:
" My aunt is beautiful, but have you seen my
sister's cat ? "
gardening, has the courage to define what he
calls his art : " The art of landscape gardening
may be stated as the taking true cognisance
of nature's means for the expression of beauty,
and so disposing those means artistically as to
co-operate for our delight in given conditions."
This is a hard saying, put in plain English it
seems to amount to this: "Fix upon certain
passages that you like in natural scenery, and
then reproduce them under artificial conditions."
By observation of natural scenery the landscape
gardener is to form certain generalisations to
guide his practice. Here are some of the
results of Mr. Milner's studies : " A calculated
shadow on a lawn is a resource of value for the
artistic use of natural effect. In every situation
a beyond implies discovery and affects the
imagination ; the area is circumscribed of which
we can take cognisance too readily and com-
pletely ; imagination is then confused or
frustrated. The beauty of water, in motion or
still, is of universal acceptance. The created
character of a water feature must be consonant
with the surrounding land, for fitness to
surrounding conditions is a measure of beauty
to both ; a lake expresses spaciousness, but
much of its charm is due to its outline."
There is a curious irrelevance about these
apothegms which reminds one of Ollendorf:
" My aunt is beautiful, but have you seen my
sister's cat ? "