:"In our opinion, a landscape-gardener knows but a part of his profession, who is not conversant with the numerous families of American and other trees which will thrive in the open air in Britain. Mere [[picturesque]] improvement is not enough in these enlightened times: it is necessary to understand that there is such a character of art as the [[gardenesque]], as well as the [[picturesque]]. The very term [[gardenesque]], perhaps, will startle some readers; but we are convinced, nevertheless, that it is a term which will soon find a place in the language of rural art. [[landscape gardening|Landscape-gardening]], it will be allowed, is, to a certain extent, an art of imitation. Now, an imitative art is not one which produces fac similes of the things to be imitated; but one which produces imitations, or resemblances, according to the manner of that art. Thus, sculpture does not attempt colour, nor painting to raise surfaces in relief; and neither attempt to deceive. In the like manner, the imitator, in a [[park]] or [[pleasure ground|pleasure-ground]], of a landscape composed of ground, [[wood]], and water, does not produce fac similes of the grounds, [[wood]], and water, which he sees around him on every side; but, of ground, [[wood]] and water, arranged in imitation of nature, according to the principles of his particular art. The character of this art has varied from the earliest times to the present day; but profoundly examined, the principle which guided the artist remains the same; and the successive fashions that have prevailed will be found to confirm our views of the subject, viz., that all imitations of nature worthy of being characterized as belonging to the fine arts art not fac-simile imitations, but imitations of manner. To apply this principle to the planting of trees in [[park]] or [[pleasure ground|pleasure-ground]] scenery nature, in any given locality, makes use of a certain number of trees found indigenous there; but the garden imitator of natural [[woods]] introduces either other forms and dispositions of the same kinds of trees, as in the [[geometric style]]; or the same disposition of other species of trees, as in the most improved practice of the [[modern style]]. In neither case does the artist produce a correct fac simile of nature; for, if he did, however beautiful the scene copied, the beauty produced would be merely that of repetition. But we have neither room nor time at present fully to illustrate this theory. Let it suffice for us to state, for the consideration of those of our readers who have reflected on the subject, that there is as certainly, in gardening, as an art of imitation, the [[gardenesque]], as there is, in painting and sculpture, the [[picturesque]] and sculpturesque."
[[File:1418.jpg|thumb|Fig. 3, "View from the Chinese Temple," Cheshunt Cottage, in ''The Gardener's Magazine'' 15, no. 117 (December 1839): p. 651, fig. 162.]][[File:1905.jpg|thumb|Fig. #, "Boat-house and Agave Mount," Cheshunt Cottage, in ''The Gardener's Magazine'' 15, no. 117 (December 1839): p. 667, fig. 173.]]
* December 1839, describing Cheshunt Cottage, property of William Harrison, near London, England (''Gardener's Magazine'' 15: 653, 667-68) <ref>J. C. Loudon, "Descriptive Notices of Select Suburban Residences, with Remarks on Each; Intended to Illustrate the Principles and Practices of Landscape-Gardening," ''The Gardener's Magazine and Register of Rural & Domestic Improvement'' XV, no. 117 (December 1839): 633–74, [https://www.zotero.org/groups/54737/items/itemKey/U5WDEBI9 view on Zotero]</ref>
:"85, Double ascent of the steps to a [[mound]] formed of the earth removed in excavating for the [[pond]]. From the platform to which these steps lead, there is a circuitous path to the [[Chinese manner|Chinese]] [[temple]], and the steps are ornamented with [[Chinese manner|Chinese]] [[vase]]s, thus affording a note of preparation for the [[Chinese manner|Chinese]] [[temple]]. The outer sides of the steps are formed of [[rockwork]], and between the two stairs is a pedestal with [[Chinese manner|Chinese]] ornaments.
:"86, The [[Chinese manner|Chinese]] [[temple]], on the highest part of the [[mount]] formed of the soil taken from the excavation now constituting the [[pond]]. The [[view]] from the interior of this [[temple]] is shown in''fig''. 162. . . . [Fig. 9]
:"87, [[rustic style|Rustic]] steps descending from the [[Chinese manner|Chinese]] [[temple]] to the [[walk]] which borders the [[pond]]. . . .
</gallery>
 
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