It is an old saying, that every one likes best to learn from his own experience, As with many other matters which have passed into proverbs, there is a deal of truth in this. There is something perverse in our nature, which resists any teaching which does not run with our own experience. Hence it is that advice is seldom sought except in cases of difficulty and trouble. When one's experience is at fault or in error, then the experience of another is consulted; then it is that we are willing to learn from others; then we can see our own faults. This is emphatically true in the subject matter of this paper. And in this regard it is amusing to witness the gross inconsistencies of men who are otherwise noted per-haps for prudence and success in all their other enterprises. Now the question arises, Whence is this? How does it happen that there should be so much error prevalent on this subject? The answer is plain - simply from ignorance. And yet, strange to say, it is a most difficult matter to get any one to confess that on this subject he is ignorant.

The answer is always ready, that it is a matter of taste; that I do according to my taste, and "de gustibus non est dispulandum." To a certain extent we admit the dilemma, and agree with the old lady who was so demonstrative in her affection for her cow, that "there's no accounting for tastes".

Now, what is it to make a country place? To some it seems little more than executing a landscape in colors, according to the different degrees of artistic merit of the painter. Does the idea ever come up that it is the work of years? that the best specimens of the work among us have been the labor of a lifetime? Such would hardly seem to be the case. Country places multiply very rapidly in the neighborhood of large cities. And how are they made 1 The modus operandi is easily told. To begin: the site for the mansion, house, villa, or whatever the fancy of the architect pleases to term it, is selected; then, with the building of the same, the treatment of the ground is commenced. We should, perhaps, more appropriately say the laying-out of the grounds, as this term is the one usually employed by such artists; the word we have used belonging to a higher and more truthful school of art. This laying-out consists generally in putting in the approach, with the service roads and pathways, flower and vegetable gardens, and the planting of fruit and ornamental trees. And here is the rock on which shipwreck is usually made, viz., the planting.

The novice commences by putting in a tree here and a tree there; here a shrub and there a shrub, all with a commendable desire to fill up the grounds, to get trees, plenty of shade-seclusion from the public gaze, etc., etc. And this is carried on for say ten years, when the proprietor discovers that he is only beginning to learn his work; that much of his creation is bad, and very different from what he would do if he had his work to do over again. Here, then, is a clear loss of time - ten precious years of a lifetime irrevocably gone ! And hence it happens that we so often see gentlemen tired of the country places they have made, and instead of becoming attached to the creations of their own taste and liberal expenditure, are glad to sell and be rid of that which has turned out to be a disappointment.

It will be asked, In what, then, consists the true art of making a country place? We answer, in the first place, that the work is an expression of the highest mental culture and most refined taste. As such, it is an exponent of a man's character and attainments. To build his mansion, the owner can summon to his assistance the architect, who will give form and expression to his idea. Then comes the real work - the treatment of his grounds. "Hoc opus, hic labor est" This demands study; not the rapid execution of every passing whim or fancy, but much thought, severe study; knowledge, too, of the principles of correct taste; knowledge of effect in planting: this is the art of the landscape painter, whose skill in the use of colors finds its parallel in the science of the arboretum. Just as the artist, by his choice of tints and colors, produces his marvellous effects of light and shade, aerial perspective, foreground and distance, so must the landscape gardener, by his selection of trees, as to size, form, and color of foliage, create the beauties of his natural picture. We do not claim too much for this work when we say it calls for such requisites.

It then resolves itself into the simple question, whether it is better for him who undertakes to make a country place to rely on his own ignorance, or put himself under the guidance and teaching of those who have devoted their lives to the acquisition of such knowledge. The apprenticeship is honorable, and withal very pleasant; and it is far better to feel that one is progressing right, than to labor under the painful uncertainty as to whether or no time, work, and means are being thrown away.

Now, for fear that we may be thought to be dealing in abstractions and talking hyperbole, let us have a word or two which will address themselves to every understanding. Who is there that can be insensible to the beauties of nature now in this first month of summer 1 What is it that so charms the eye? Is it not the peculiar effect of light and shade, the charming variety of color, from the sombre Pine to the fresher green of the deciduous Cypress' feathery leaf? Look among the evergreens. See the variety of shading in that usually sombre family. What exquisite beauty in yon clump of Hemlocks, with their sprays all tipped with the brightest possible green ! See among the deciduous, the solemn Elm, the sprightly Maple, the brilliant, copper-colored Beech, the silvery Poplar, the diminutive leaf of the Aspen quivering in the light breeze. What exquisite toning of color is here mingled ! What a variety of form and symmetry to study I How beautiful is the general effect! Any one whose soul is not dead within him can appreciate such things. In the language of the celebrated Loudon - the chief in that best of all, the English school - "Every one feels that trees are among the grandest and most ornamental objects of natural scenery.

What would landscape be without them? Where would be the charm of hills, plains, valleys, rocks, rivers, cascades, lakes, or islands, without the hanging wood, the widely-extended forest, the open grove, the scattered groups, the varied clothing, the shade and intricacy, the contrast, and the variety of form and color conferred by trees and shrubs? "

But does the knowledge of combining and harmonizing such elements come intuitively? Is it not rather the result of deep study - a study which goes into the arcana of the forest, into the laboratory of nature for the pigments of her landscapes? Go to that same author we have just quoted; look into his "Arbo-retum et Fruticetum Britannicum" See what the labor and study of a lifetime have done for the amateur and landscape gardener. Here is a guide under whose instructions we may go intelligently to work. The creation of a country place is therefore something more than building a barn or constructing a road. Let him who undertakes the work reflect that he is doing something which is to exist after he is gone, and to remain a monumeut to his superior intelligence and refinement of taste, or to stand as a contemptible reminder of the littleness of its forgotten author. In this point of view the making of a country place is a serious subject and should prompt the liberal and intelligent projector to avail himself of the highest authority and best means within his power.

He will thereby lay up fur himself satisfaction and content in future years.

[No more truthful picture could be drawn than the above, and we commend it to all who are about "making country places." That R. S. S. has assigned the true cause of failure in a majority of cases is too apparent to need further comment. - Ed].