Of these Kent was the first of eminence. Their idea was to destroy all the old-fashioned formalities, at the sacrifice of a certain stateliness which the style possessed, and to bring the scenery of an English park up to the house itself. But they were constantly haunted and harassed by the word “picturesque.” Was Nature more picturesque when closely followed or carefully improved? Was it the duty of the landscape gardener to arrange his clumps and belts of trees in the way in which they would look best in a _picture_? This was evidently Kent’s idea, and Daines Barrington, speaking of him, says it was reserved for him “to realize these beautiful descriptions [in the _Faery Queen_], for which he was peculiarly adapted by being a painter, as the true test of perfection in a modern garden is that a landscape painter would choose it as a composition.” Kent’s great work seems to have been the carrying out of the alterations at Stowe, on which Bridgeman had been originally employed, and much of the beauty of those famous grounds—which, however, were at least as artificial as natural—was owing to his taste. The two peculiarities now generally associated with his name are the planting of _dead trees_ to look picturesque, and the constant use of _Ha-ha’s_ (or sunk fences), which he is often said to have originated, though, as matter of fact, Batty Langley also (and I think previously) advocates their adoption.[3] “Capability Brown” was perhaps the next most noted landscape gardener. His idea was always to improve nature, and he was particularly strong in artificial lakes and canals, with rather formal clumps of trees. He had many disciples, and it seemed as if half the fine places in England were to be reformed on the new principles.