The principle that ought to determine the position, apparent size, and architecture of a house, viz. that it should be so constructed, and (if large) so much of it hidden, as to admit of its being gently incorporated into the scenery of Nature—should also determine its colour. Sir Joshua Reynolds used to say, 'If you would fix upon the best colour for your house, turn up a stone, or pluck up a handful of grass by the roots, and see what is the colour of the soil where the house is to stand, and let that be your choice.' Of course, this precept given in conversation, could not have been meant to be taken literally. For example, in Low Furness, where the soil, from its strong impregnation with iron, is universally of a deep red, if this rule were strictly followed, the house also must be of a glaring red; in other places it must be of a sullen black; which would only be adding annoyance to annoyance. The rule, however, as a general guide, is good; and, in agricultural districts, where large tracts of soil are laid bare by the plough, particularly if (the face of the country being undulating) they are held up to view, this rule, though not to be implicitly adhered to, should never be lost sight of;—the colour of the house ought, if possible, to have a cast or shade of the colour of the soil. The principle is, that the house must harmonise with the surrounding landscape: accordingly, in mountainous countries, with still more confidence may it be said, 'look at the rocks and those parts of the mountains where the soil is visible, and they will furnish a safe direction.' Nevertheless, it will often happen that the rocks may bear so large a proportion to the rest of the landscape, and may be of such a tone of colour, that the rule may not admit, even here, of being implicitly followed. For instance, the chief defect in the colouring of the Country of the Lakes (which is most strongly felt in the summer season) is an over-prevalence of a bluish tint, which the green of the herbage, the fern, and the woods, does not sufficiently counteract. If a house, therefore, should stand where this defect prevails, I have no hesitation in saying, that the colour of the neighbouring rocks would not be the best that could be chosen. A tint ought to be introduced approaching nearer to those which, in the technical language of painters, are called warm: this, if happily selected, would not disturb, but would animate the landscape. How often do we see this exemplified upon a small scale by the native cottages, in cases where the glare of white-wash has been subdued by time and enriched by weather-stains! No harshness is then seen; but one of these cottages, thus coloured, will often form a central point to a landscape by which the whole shall be connected, and an influence of pleasure diffused over all the objects that compose the picture. But where the cold blue tint of the rocks is enriched by the iron tinge, the colour cannot be too closely imitated; and it will be produced of itself by the stones hewn from the adjoining quarry, and by the mortar, which may be tempered with the most gravelly part of the soil. The pure blue gravel, from the bed of the river, is, however, more suitable to the mason's purpose, who will probably insist also that the house must be covered with rough-cast, otherwise it cannot be kept dry; if this advice be taken, the builder of taste will set about contriving such means as may enable him to come the nearest to the effect aimed at.
The supposed necessity of rough-cast to keep out rain in houses not built of hewn stone or brick, has tended greatly to injure English landscape, and the neighbourhood of these Lakes especially, by furnishing such apt occasion for whitening buildings. That white should be a favourite colour for rural residences is natural for many reasons. The mere aspect of cleanliness and neatness thus given, not only to an individual house, but, where the practice is general, to the whole face of the country, produces moral associations so powerful, that, in many minds, they take place of all others. But what has already been said upon the subject of cottages, must have convinced men of feeling and imagination, that a human dwelling of the humblest class may be rendered more deeply interesting to the affections, and far more pleasing to the eye, by other influences, than a sprightly tone of colour spread over its outside. I do not, however, mean to deny, that a small white building, embowered in trees, may, in some situations, be a delightful and animating object—in no way injurious to the landscape; but this only where it sparkles from the midst of a thick shade, and in rare and solitary instances; especially if the country be itself rich and pleasing, and abound with grand forms. On the sides of bleak and desolate moors, we are indeed thankful for the sight of white cottages and white houses plentifully scattered, where, without these, perhaps every thing would be cheerless: this is said, however, with hesitation, and with a wilful sacrifice of some higher enjoyments. But I have certainly seen such buildings glittering at sun-rise, and in wandering lights, with no common pleasure. The continental traveller also will remember, that the convents hanging from the rocks of the Rhine, the Rhone, the Danube, or among the Appenines, or the mountains of Spain, are not looked at with less complacency when, as is often the case, they happen to be of a brilliant white. But this is perhaps owing, in no small degree, to the contrast of that lively colour with the gloom of monastic life, and to the general want of rural residences of smiling and attractive appearance, in those countries.
The objections to white, as a colour, in large spots or masses in landscape, especially in a mountainous country, are insurmountable. In Nature, pure white is scarcely ever found but in small objects, such as flowers: or in those which are transitory, as the clouds, foam of rivers, and snow. Mr. Gilpin, who notices this, has also recorded the just remark of Mr. Locke, of N——, that white destroys the gradations of distance; and, therefore, an object of pure white can scarcely ever be managed with good effect in landscape-painting. Five or six white houses, scattered over a valley, by their obtrusiveness, dot the surface, and divide it into triangles, or other mathematical figures, haunting the eye, and disturbing that repose which might otherwise be perfect. I have seen a single white house materially impair the majesty of a mountain; cutting away, by a harsh separation, the whole of its base, below the point on which the house stood. Thus was the apparent size of the mountain reduced, not by the interposition of another object in a manner to call forth the imagination, which will give more than the eye loses; but what had been abstracted in this case was left visible; and the mountain appeared to take its beginning, or to rise, from the line of the house, instead of its own natural base. But, if I may express my own individual feeling, it is after sunset, at the coming on of twilight, that white objects are most to be complained of. The solemnity and quietness of Nature at that time are always marred, and often destroyed by them. When the ground is covered with snow, they are of course inoffensive; and in moonshine they are always pleasing—it is a tone of light with which they accord: and the dimness of the scene is enlivened by an object at once conspicuous and cheerful. I will conclude this subject with noticing, that the cold, slaty colour, which many persons, who have heard the white condemned, have adopted in its stead, must be disapproved of for the reason al ready given. The flaring yellow runs into the opposite extreme, and is still more censurable. Upon the whole, the safest colour, for general use, is something between a cream and a dust-colour, commonly called stone colour;—there are, among the Lakes, examples of this that need not be pointed out.[61]
The principle taken as our guide, viz. that the house should be so formed, and of such apparent size and colour, as to admit of its being gently incorporated with the works of Nature, should also be applied to the management of the grounds and plantations, and is here more urgently needed; for it is from abuses in this department, far more even than from the introduction of exotics in architecture (if the phrase may be used), that this country has suffered. Larch and fir plantations have been spread, not merely with a view to profit, but in many instances for the sake of ornament. To those who plant for profit, and are thrusting every other tree out of the way, to make room for their favourite, the larch, I would utter first a regret, that they should have selected these lovely vales for their vegetable manufactory, when there is so much barren and irreclaimable land in the neighbouring moors, and in other parts of the island, which might have been had for this purpose at a far cheaper rate. And I will also beg leave to represent to them, that they ought not to be carried away by flattering promises from the speedy growth of this tree; because in rich soils and sheltered situations, the wood, though it thrives fast, is full of sap, and of little value; and is, likewise, very subject to ravage from the attacks of insects, and from blight. Accordingly, in Scotland, where planting is much better understood, and carried on upon an incomparably larger scale than among us, good soil and sheltered situations are appropriated to the oak, the ash, and other deciduous trees; and the larch is now generally confined to barren and exposed ground. There the plant, which is a hardy one, is of slower growth; much less liable to injury; and the timber is of better quality. But the circumstances of many permit, and their taste leads them, to plant with little regard to profit; and there are others, less wealthy, who have such a lively feeling of the native beauty of these scenes, that they are laudably not unwilling to make some sacrifices to heighten it. Both these classes of persons, I would entreat to inquire of themselves wherein that beauty which they admire consists. They would then see that, after the feeling has been gratified that prompts us to gather round our dwelling a few flowers and shrubs, which from the circumstance of their not being native, may, by their very looks, remind us that they owe their existence to our hands, and their prosperity to our care; they will see that, after this natural desire has been provided for, the course of all beyond has been predetermined by the spirit of the place. Before I proceed, I will remind those who are not satisfied with the restraint thus laid upon them, that they are liable to a charge of inconsistency, when they are so eager to change the face of that country, whose native attractions, by the act of erecting their habitations in it, they have so emphatically acknowledged. And surely there is not a single spot that would not have, if well managed, sufficient dignity to support itself, unaided by the productions of other climates, or by elaborate decorations which might be becoming elsewhere.
Having adverted to the feelings that justify the introduction of a few exotic plants, provided they be confined almost to the doors of the house, we may add, that a transition should be contrived, without abruptness, from these foreigners to the rest of the shrubs, which ought to be of the kinds scattered by Nature, through the woods—holly, broom, wild-rose, elder, dogberry, white and black thorn, &c.—either these only, or such as are carefully selected in consequence of their being united in form, and harmonising in colour with them, especially with respect to colour, when the tints are most diversified, as in autumn and spring. The various sorts of fruit-and-blossom-bearing trees usually found in orchards, to which may be added those of the woods,—namely, the wilding, black cherry tree, and wild cluster-cherry (here called heck-berry)—may be happily admitted as an intermediate link between the shrubs and the forest trees; which last ought almost entirely to be such as are natives of the country. Of the birch, one of the most beautiful of the native trees, it may be noticed, that, in dry and rocky situations, it outstrips even the larch, which many persons are tempted to plant merely on account of the speed of its growth. The Scotch fir is less attractive during its youth than any other plant; but, when full grown, if it has had room to spread out its arms, it becomes a noble tree; and, by those who are disinterested enough to plant for posterity, it may be placed along with the sycamore near the house; for, from their massiveness, both these trees unite well with buildings, and in some situations with rocks also; having, in their forms and apparent substances, the effect of something intermediate betwixt the immoveableness and solidity of stone, and the spray and foliage of the lighter trees. If these general rules be just, what shall we say to whole acres of artificial shrubbery and exotic trees among rocks and dashing torrents, with their own wild wood in sight—where we have the whole contents of the nurseryman's catalogue jumbled together—colour at war with colour, and form with form?—among the most peaceful subjects of Nature's kingdom, everywhere discord, distraction, and bewilderment! But this deformity, bad as it is, is not so obtrusive as the small patches and large tracts of larch-plantations that are overrunning the hill sides. To justify our condemnation of these, let us again recur to Nature. The process, by which she forms woods and forests, is as follows. Seeds are scattered indiscriminately by winds, brought by waters, and dropped by birds. They perish, or produce, according as the soil and situation upon which they fall are suited to them: and under the same dependence, the seedling or the sucker, if not cropped by animals, (which Nature is often careful to prevent by fencing it about with brambles or other prickly shrubs) thrives, and the tree grows, sometimes single, taking its own shape without constraint, but for the most part compelled to conform itself to some law imposed upon it by its neighbours. From low and sheltered places, vegetation travels upwards to the more exposed; and the young plants are protected, and to a certain degree fashioned, by those that have preceded them. The continuous mass of foliage which would be thus produced, is broken by rocks, or by glades or open places, where the browzing of animals has prevented the growth of wood. As vegetation ascends, the winds begin also to bear their part in moulding the forms of the trees; but, thus mutually protected, trees, though not of the hardiest kind, are enabled to climb high up the mountains. Gradually, however, by the quality of the ground, and by increasing exposure, a stop is put to their ascent; the hardy trees only are left: those also, by little and little, give way—and a wild and irregular boundary is established, graceful in its outline, and never contemplated without some feeling, more or less distinct, of the powers of Nature by which it is imposed.
Contrast the liberty that encourages, and the law that limits, this joint work of Nature and Time, with the disheartening necessities, restrictions, and disadvantages, under which the artificial planter must proceed, even he whom long observation and fine feeling have best qualified for his task. In the first place his trees, however well chosen and adapted to their several situations, must generally start all at the same time; and this necessity would of itself prevent that fine connection of parts, that sympathy and organisation, if I may so express myself, which pervades the whole of a natural wood, and appears to the eye in its single trees, its masses of foliage, and their various colours, when they are held up to view on the side of a mountain; or when, spread over a valley, they are looked down upon from an eminence. It is therefore impossible, under any circumstances, for the artificial planter to rival the beauty of Nature. But a moment's thought will show that, if ten thousand of this spiky tree, the larch, are stuck in at once upon the side of a hill, they can grow up into nothing but deformity; that, while they are suffered to stand, we shall look in vain for any of those appearances which are the chief sources of beauty in a natural wood.
It must be acknowledged that the larch, till it has outgrown the size of a shrub, shows, when looked at singly, some elegance in form and appearance, especially in spring, decorated, as it then is, by the pink tassels of its blossoms; but, as a tree, it is less than any other pleasing: its branches (for boughs it has none) have no variety in the youth of the tree, and little dignity, even when it attains its full growth: leaves it cannot be said to have, consequently neither affords shade nor shelter. In spring the larch becomes green long before the native trees; and its green is so peculiar and vivid, that, finding nothing to harmonise with it, wherever it comes forth, a disagreeable speck is produced. In summer, when all other trees are in their pride, it is of a dingy, lifeless hue; in autumn of a spiritless unvaried yellow, and in winter it is still more lamentably distinguished from every other deciduous tree of the forest, for they seem only to sleep, but the larch appears absolutely dead. If an attempt be made to mingle thickets, or a certain proportion of other forest-trees, with the larch, its horizontal branches intolerantly cut them down as with a scythe, or force them to spindle up to keep pace with it. The terminating spike renders it impossible that the several trees, where planted in numbers, should ever blend together so as to form a mass or masses of wood. Add thousands to tens of thousands, and the appearance is still the same—a collection of separate individual trees, obstinately presenting themselves as such; and which, from whatever point they are looked at, if but seen, may be counted upon the fingers. Sunshine, or shadow, has little power to adorn the surface of such a wood; and the trees not carrying up their heads, the wind raises among them no majestic undulations. It is indeed true, that, in countries where the larch is a native, and where, without interruption, it may sweep from valley to valley, and from hill to hill, a sublime image may be produced by such a forest, in the same manner as by one composed of any other single tree, to the spreading of which no limits can be assigned. For sublimity will never be wanting, where the sense of innumerable multitude is lost in, and alternates with, that of intense unity; and to the ready perception of this effect, similarity and almost identity of individual form and monotony of colour contribute. But this feeling is confined to the native immeasurable forest; no artificial plantation can give it.
The foregoing observations will, I hope, (as nothing has been condemned or recommended without a substantial reason) have some influence upon those who plant for ornament merely. To such as plant for profit, I have already spoken. Let me then entreat that the native deciduous trees may be left in complete possession of the lower ground; and that plantations of larch, if introduced at all, may be confined to the highest and most barren tracts. Interposition of rocks would there break the dreary uniformity of which we have been complaining; and the winds would take hold of the trees, and imprint upon their shapes a wildness congenial to their situation.
Having determined what kinds of trees must be wholly rejected, or at least very sparingly used, by those who are unwilling to disfigure the country; and having shown what kinds ought to be chosen; I should have given, if my limits had not already been overstepped, a few practical rules for the manner in which trees ought to be disposed in planting. But to this subject I should attach little importance, if I could succeed in banishing such trees as introduce deformity, and could prevail upon the proprietor to confine himself, either to those found in the native woods, or to such as accord with them. This is, indeed, the main point; for, much as these scenes have been injured by what has been taken from them—buildings, trees, and woods, either through negligence, necessity, avarice, or caprice—it is not the removals, but the harsh additions that have been made, which are the worst grievance—a standing and unavoidable annoyance. Often have I felt this distinction, with mingled satisfaction and regret; for, if no positive deformity or discordance be substituted or superinduced, such is the benignity of Nature, that, take away from her beauty after beauty, and ornament after ornament, her appearance cannot be marred—the scars, if any be left, will gradually disappear before a healing spirit; and what remains will still be soothing and pleasing.—
Many hearts deplored
The fate of those old trees; and oft with pain
The traveller at this day will stop and gaze
On wrongs which Nature scarcely seems to heed:
For sheltered places, bosoms, nooks, and bays,
And the pure mountains, and the gentle Tweed,
And the green silent pastures, yet remain.