In the preceding remarks, we neither pretend to have embraced every part of which a place is composed, nor to have given all the details which belong to any one of the parts treated of.

Our object has been to give the reader materials for thinking on the different subjects connected with the formation of a residence where there are a few acres of ground, in order that he may endeavour to find a reason for every thing that we may in future propose; and, in short, that he may feel a greater interest in this work than if it were merely a series of arbitrary directions. In pursuance of the same object, we shall next consider the residence as a whole. After all the different parts which enter into the composition of a country residence have been duly weighed and considered by the proprietor and his landscape-gardener, and the proportionate extent of each agreed on, the next step is for the latter to put them together. It is chiefly in doing this that the artist has an opportunity of showing to what extent he is entitled to be considered as a man of genius and taste. It is easy to conceive that all the different component parts of a piece of music, a picture, or a piece of architecture, may be correctly executed; and yet that the want of due proportion between these parts may be so great, and the whole may be put together with so little connexion and harmony, as to form an object wholly without sentiment or expression. - a body unanimated by a soul.

It is this expression, formed by the due proportion, connexion, and cooperation of all the parts, that constitutes the main difference between a work of art and one of mere mechanical skill. Two grand qualities in the artist, with reference to creating expression, are, the power of viewing every part of the scene which he is to create, with reference to the effect of the whole; and the power of foreseeing future effects. It is only by the union of these two qualities in the mind of the landscape-gardener, that the grounds of a residence can be formed into a composition, as perfect as a piece of architecture; every moulding of which, as well as every column and larger member, has reference to the elevation of the different sides of the building, forms a sort of index to it, and could not be removed without injury to its effect. Perhaps these remarks may be better understood by noticing a few of the mot common defects, or causes of defects, in country residences, than by describing a comparatively perfect model.

290. The entrance lodge is generally the first fault of a place that meets the eye of a stranger. Here the building and gates are very frequently either too mean, or too much ornamented; too large and substantial, or too small, for the mansion and its accompaniments. What the happy medium is, it may be difficult to say, unless a particular case were before us: but, in every age, there is a sort 6f conventional agreement among men of taste, as to what is proper, and what exceeds the bounds of propriety. If every part of a place should give the spectator some idea of the style of art employed in every other part, then it is clear that the lodge and gate should be in the same architectural style as that of the mansion; and, hence, where the latter is Grecian or Italian, the former should neither be Gothic, nor in the ornamented English cottage style. The boundary fence connected with the lodge should be modern, where the art employed is modem; but, in the case of Gothic, or Elizabethan, lodges, walls only are admissible; hedges, as boundary fences, not being chronologically correct when connected with buildings in either of these styles.

Where the lodge and gates have patches of plantation connecting them with the boundary fences, but no scattered trees or groups to unite them to the mansion and the scenery in the interior, the principle of connexion is grossly violated, and one of the finest sources of variety in the views along the approach road is neglected. A mansion set down in a park or lawn, without any scenery of an intermediate character, such as an architectural basement, a surrounding terrace, etc, is in opposition to the harmonising principle of uniting objects so powerfully contrasted as a house and a field, by scenery of an intermediate kind.

291. The mansion it often seen inclosed in a patch of plantation, which also includes the domestic offices; but it very frequently wants the connexion, which groups and small masses of trees would give it, with the general surface of the park. Sometimes the latter is too much crowded, by the trees being uniformly distributed over every part of it; and sometimes it presents a bald appearance, from the want of trees. Indeed, to adjust the proportion of trees and pasture, or clothed spaces and naked spaces, about a place, is one of those points of art on which more of the future effect depends than on almost any other. A residence, of which it may be said that it has just enough of trees and shrubs, and not too many, will generally be found a highly satisfactory one.

292. There are certain defects in grounds and buildings, which owe their existence to errors and omissions on the part of the first builder or planter; and certain other sins, perhaps of a more heinous nature, which are committed by the occupiers after the place is finished. The remote cause of these last errors is, the desire inherent in almost everybody who is in possession of a house and grounds which he can call bis own, of doing something to it; and the immediate cause is, that this something is usually done solely with reference to itself and without any regard to its general effect on the house or grounds, considered as a whole. Perhaps a new flower-garden is to be formed, and it must have beds in it, or statues to ornament it, like those at B or C: without considering that B is a castle, and C a palace, while the scene where the flower-garden is to be formed is, perhaps, a plain modern villa. The desire of imitating those above us is thus at once the cause of the spread of improvement, and of the introduction of much absurdity. The purchase of articles at sales, because they are good and cheap, or, perhaps, beautiful in themselves, is also often the means of spoiling the general effect of a residence.

The young family of A., who are growing up, have acquired a taste for plants, and are desirous of having a green-house, which A. kindly purchases for them at the sale of the first neighbouring nurseryman who becomes bankrupt. This shed-like structure is placed against one end of the house, in a conspicuous situation; and the entrance-front has thus ever after a mean appearance. We have seen a handsome lawn spoiled by the desire of the lady of the house to have a piece of rockwork; and we have known the foundations of a house rendered damp by the occupier having purchased the flints and scoriae of a rockwork at a sale, and, for want of any better situation, banking up the lawn front of his house with them.