When the artist has brought together in his imagination all the different artificial sources of variety that his subject is capable of receiving, his next business is to arrange these according to some kind of order. He will not think of having all his shady walks at one place, and all his open walks at another; neither will he distribute shade and sunshine equally over the whole scene. He will contrive to have at least one shady walk for midsummer, and one perfectly open to the sun, for midwinter; and he will dispose of the shady parts of the walks so as generally to form separations between striking scenes, that the one may be forgotten before the other is entered on; and that, by means of shade near the eye, the objects at a distance on which light is thrown may appear the farther off. In studying the succession of views, the artist will operate on the principle of contrast so far as to make them different; and on the principle of union, so as not to render them inconsistent with each other. The principle of contrast will direct that the same description of ornaments should not be distributed over the whole place; and that neither flowers nor trees and shrubs should prevail everywhere, any more than that the same kind of tree and shrub should.

The same turf and the same description of gravel may prevail throughout a whole place, as fundamental principles of union, as the same sky and clouds appear in the atmosphere; but every thing else should be Varied, by passing from one character of scene into another, till we have made the circuit of the entire garden: by which is meant not merely walking round it, which may suffice in small places, where the means are limited; but walking round it twice, the second time being in a contrary direction to the first. This is to be effected by the mode before mentioned, of making one walk cross over another, so that the spectator shall not be aware of being carried twice over the same ground. In places of the very smallest kind, even of a few perches in extent, there are always two characters of view, one looking towards the house, and one looking from it. Hence, in a larger place, there must be a series of views of the one character, and another series of the other; and, consequently, to see all the beauties of such a place, a stranger would be required to walk twice over the same ground; that is, after he had been once over it, to turn round and retrace his steps; but, by the system of bridging and tunneling, the eye of the spectator is carried twice over the same ground without his knowing it, and without his passing twice over the same walks; and thus he can hardly fail of giving the place credit for a greater extent than it really possesses.

51. Variety may be added to email places laid out in straight lines, by breaking these lines; and this may be done in many different ways. The straight lines of the coping of a wall may be broken by clusters of ivy; by allowing some of the trees or flowering climbers, planted against the wall, to grow above it in some places; or by allowing plants to grow out of crevices in it The lines of walls may be broken, by allowing the branches of adjoining shrubs to extend over them in some places, and in others to produce messes of shade and concealment. Even flower-beds and compartments enclosed by box edgings, which, when newly formed, are perfectly regular or symmetrical, may have the additional beauty of variety conferred on them in a similar manner. All objects distant from the eye, in a formal garden, may be varied by placing trees in the foreground; and the more slender these trees are, the greater the number that may be planted. Variety may be introduced, even on flat surfaces, by the addition of ivy, and allowing it to trail along the ground, or by planting evergreen herbaceous plants; care being taken that the masses so produced shall always be connected with something else with which they may form a whole.

Rockwork, whether natural or artificial, derives a great part of its beauty from the variety produced by a partial clothing of vegetation; and even houses and naked walls may be rendered interesting by the shade and variety, produced by trees or other plants trained against them, altogether independently of the botanical interest which these plants will create. Water depends for its variety on the vegetation placed along its margin, as much as a naked wall depend on the trees or plants trained against it. Water is also varied by its general outline, and by islands, and projections and recesses; all of which may themselves, in their turn, he varied by vegetation. Trees and shrubs, which confer so much variety on other objects, may even have their own variety increased by pruning. Heavy compact forms, and orbiculate lumpish shapes, may he broken and lightened by the judicious removal of branches, so as to admit light and air; and to show, in part, the trunk, and the ramifications of the tree.

52. Harmony in landscape-gardening may be produced by the introduction of architectural terraces, statues, vases, and other sculptural objects, so as to connect the house in some measure with the grounds.