From all that we have suggested in these limited remarks, it will be seen that we would only attempt in our operations with water, the graceful or picturesque imitations of natural lakes or ponds, and brooks, rivulets, and streams. Such are the only forms in which this unrivalled element can be displayed so as to harmonize agreeably with natural and picturesque scenery. In the latter, there can be no apology made for the introduction of straight canals, round or oblong pieces of water, and all the regular forms of the geometric mode; because they would evidently be in violent opposition to the whole character and expression of natural landscape. In architectural, or flower gardens (on which we shall hereafter have occasion to offer some remarks), where a different and highly artificial arrangement prevails, all these regular forms, with various jets, fountains, etc., may be employed with good taste, and will combine well with the other accessories of such places. But in the grounds of a residence in the modern style, nature, if possible, still more purified, as in the great chefs-d'ﾜuvre of art, by an ideal standard, should be the great aim of the Landscape Gardener. And with water especially, only beautiful when allowed to take its own flowing forms and graceful motions, more than with any other of our materials, all appearance of constraint and formality should be avoided. If art be at all manifest, it should discover itself only, as in the admirably painted landscape, in the reproduction of nature in her choicest developments. Indeed, many of the most celebrated authors who have treated of this subject, appear to agree that the productions of the artist in this branch are most perfect as they approach most nearly to fac-similes of nature herself: and though art should have formed the whole, its employment must be nowhere discovered by the spectator; or as Tasso has more elegantly expressed the idea: "L'ARTE CHE TUTTO FA, NULLA sI SCOPRE."
[Torquato Tasso was an Italian 16th century poet of the , best known for his poem La Gerusalemme liberata. Downing's quotation is from (XVI, 9) "L'arte, che tutto fa, nulla si scopre." can be translated as "The art, which all that wrought, appeared in no place." TT]
