We have now described all the necessary materials and manipulations to complete in every respect a model similar to the mansion given in the illustrations, and which, though containing the general detail of a building of that description, was wanting in numerous varieties of detail that will occur in many other buildings of the same class more ornate and considerably more elaborate in design than our example.
While all our attention is being turned towards Italian architecture, Gothic must not be forgotten, and though the general method of procedure is the same for both, yet there are numerous things which exist only in the latter style, and in consequence demand separate instructions. In order, therefore, that nothing shall escape being described in the various styles, that the student may have nothing to retard his operations, we append the methods of working the various details in the form of an illustrated glossary, the alphabetical arrangement of which will, we think, enable the student more readily and quickly to find the particular information he may require.
PART IV.
HINTS ON LANDSCAPE GARDENING; LAYING OUT GROUNDS, &c.
We have, as yet, proposed to finish the model in the plainest and most simple way, completely unaided and unadorned by the adjuncts of gardens or trees. And yet, that models are frequently considerably improved in appearance by these imitations of natural objects, when taste and skill go hand in hand, will be admitted by all, but we often see them completely spoiled by such additions. It is indeed somewhat difficult to say how far we may venture with propriety upon this path, and where to draw the line requires some tact; we will not, therefore, lay down any rule absolutely as to how far the laying out of grounds and the modelling of the trees, &c., may be admissible, only giving some instructions for modelling the objects themselves. And though the grounds are laid out, the picturesque undulations of the surface, the ponds, flower-beds, arcades, terraces, lawns, shrubs, and trees, faithfully represented, let it not for one moment be supposed that by so doing we render what was before a work of art, a mere toy. Far from it. We do not wish the reader, when he thinks of a model, to remember those of York Minster, or Strasbourg Cathedral, and which, borne aloft upon the shoulders of some wandering Italian, tempt the vulgar by the rich colours of the stained glass inserted in their chalk sides, and brilliantly illuminated by the light of a farthing candle placed within; or of the grounds, as bearing any resemblance to those interesting toys representing a “castle in cork,” about an inch high, whose clinging ivy is represented by one of the largest species of moss, and in whose luxurious gardens bloom roses two inches in diameter, roses which should have decked some matron’s cap, but which for the nonce were pressed into this more noble service. But, to proceed. Balusters of grotesque, Elizabethan, or other patterns, when cut out of the solid stone, must be made by gumming the paper in different thicknesses, till that required is obtained, carefully drawing the pattern, and then cutting out with knife No. 3. Turned work, as circular pedestals for statues, sundials, gate-piers, balusters, &c., cannot be successfully imitated in paper, but are better turned in wood of some light colour, and then tinted with body colour to the required shade; all work of the same description that is square may be constructed in exactly the same manner as before described for chimney-stacks. For a representation of lawns and grassy slopes, meadow, &c., we may take white velvet, and tint it to any required shade, or use cloth which can be obtained any shade of green, or even flock paper may be procured, which, when cleverly laid on the work, gives an excellent imitation of grass; but of all these methods, velvet tinted will be found the most effective and best. Water, represent with looking-glass, or with mica, to the back of which is gummed paper of suitable tint for the situation of the water. For rocks, grottoes, &c., take stout white paper, and thoroughly soak it in water until it is rendered quite pliable, and then with the fingers, pieces of wood, or any thing that may suggest itself as being useful, mould or model it to the required shapes fancy or skill may suggest, and afterwards tint it to resemble nature. An effect better still may be obtained by gumming it, when perfectly dry, with thick gum, and then dusting or sprinkling it with fine sand, which may be procured of various shades. This method adopt also for walks, carriage-drives, or any place where a representation of road, or gravel, may be required. Cut out your flower-beds in thin cork, and then burn the upper surface; this will give the appearance of rich mould, or earth, and also serve as a good groundwork to stick the shrubs and flowers into. In your trees, rather aim at a general or suggestive effect, than at much minutiæ of detail; procure pieces of twigs, and shape them for the trunks and branches, and then gum on them the smallest-leaved moss, in good outline to represent nature; this moss will, when perfectly dried, bear tinting well. Flower-patches, the same moss with a bit of bright scarlet, or other paper, here and there gummed among it.
We have now given sufficient general instructions to enable the student to proceed with this branch, should his fancy lead him; and with these suggestions, and his own practice, he may in a short time be enabled to imitate successfully the quaint gardens of the Elizabethan period, or the more natural taste evinced in the landscape gardening of our own times.
... “Does airy fancy cheat
My mind well pleased with the deceit?
I seem to hear, I seem to move,
And wander through the happy grove,
Where smooth springs flow, and murmuring breeze