The imitation of natural scenery by the hand of man may be rendered artistic in three different ways. First, we may employ the same sorts of shrubs and trees which are common in the surrounding country; but, in this case, we must arrange them differently. Thus, if the whole country be covered with wood, treated as coppice-woody the artistical scenery may consist wholly of groups of full-grown trees, surrounded by, and interspersed with, smooth turf; or, on the other hand, if the surrounding woody scenery be composed wholly of masses of full-grown timber-trees, such as thick close-growing pine groves, we may employ the same kind of trees sparingly, on an extensive breadth of smooth turf, as before. There are various other modes in which a difference might be made between the object produced and the object imitated; but these will suffice to give an idea of this first or lowest degree of artistical imitation, which may be called the imitation of indigenous landscape. The second kind of imitation consists in employing trees and shrubs of kinds totally different from those of the surrounding country; and which, whatever may be the mode of their arrangement, will, at first sight, distinguish the landscapes of which they form a part from those of the given locality or country.

Thus, in Britain, the trees and shrubs of North America, the Continent of Europe, and the temperate parts of Asia, afford ample resources to the landscape-gardener. Now, the trees employed in this imitation of nature may be disposed in two ways, which we have already designated as the picturesque and the gardenesque; the first being the imitation of nature in a wild state, such as the painter delights to copy; and the second, the imitation of nature, subjected to a certain degree of cultivation or improvement, suitable to the wants and wishes of man.