[We quote the following description of the place most celebrated in England for the high cultivation of the plants and the richness and variety of the exotic flora it contains. Mrs. Lawrence's plants are as nearly perfect as plants can be, in beauty of growth and completeness of development, and she uniformly carries off the majority of the prizes at the great London shows, where she has the combined skill of all England to compete with. The account is taken from an interesting little volume lately received, on the parks and gardens about London. En.]

Mrs. Lawrence's gardens at Ealing, Park have acquired, and justly, a universal reputation, on account of the superb collection of plants which they contain, and the general taste displayed in the arrangement of the place. As they are most generously thrown open to the public for one day in each week during the summer, they demand to be pretty fully described.

The entrance to the park is at the eastern corner, and after passing through the gates, the drive turns to the left, and crosses the open park till it reaches a long piece of artificial water, over which it is carried by a low bridge. - which is in fact a neck of land dividing the lake into levels. - and soon arrives at the house. There is also a walk from the lodge to the house, just along the belt of plantation which covers the northern boundary. In the lake is a pretty island of weeping willows, which shows well from the house. The drive, walk, water, etc, were planned by Brown; but the southern belt of plantation was afterwards thinned out with great judgment and effect by Repton, who saw that it was concealing the views into the country across the Surrey Hills, and of the Kew Pagoda, gardens, Ac., and caused several varied openings in the line of plantation to be made, thereby greatly enlivening and expanding the place.

From the house, which is so unfortunately contrived that the offices are on the south side, and can only be gained by passing the principal entrance door, an opening through an architectural wing wall at the north end brings us at once into the pleasure grounds. This wall is also used to connect the house with a conservatory, which stands on the right as soon as the garden is entered, and is generally filled with Camellias, or other large flowering plants that are not grown as specimens.

At the other end of the house, a short colonnade is thrown out, and supported by low evergreen trees, through which the access to what is called the "Italian walk" is given. This is a straight walk on a descending slope, with pairs of small figures on pedestals at either side of it, and good specimens of Irish yew between these. It terminates in a moderately large circular basin of water, in the center of which, on a sufficient pedestal, is a figure of Apollo. The walk is kept confined towards the end by large evergreens, which narrow the vista, and restrict the view pretty much to the principal terminating object in the middle of the basin. The figures on the pedestals at the sides are arranged in pairs; on one pedestal Mars and Venus being placed, on another Cupid and Psyche, on a third Castor and Pollux, Ac. The general effect is classic and elegant, and consistent with the style of the house.

The lawn view from the front of the house is rich and varied. A great many specimen plants, especially of the coniferous tribe, are scattered about upon the grass, and their lower branches lie down upon it in the most graceful manner. A rustic arch, through which a small fountain is seen, and some fragmentary classic ruins, jut out from the mass of trees and shrubs at different points along the northern boundary, and prevent the abundance of green vegetable objects from degenerating into sameness. Certain cross avenues, however, break up the principal glade more than is desirable. One of these avenues is of Capressus macrocarpa, backed by mixed evergreens. Near the house among other choice specimens, is a large plant of Arbutus proctra, which, with its smooth steins, and fine clusters of fruit in autumn, has a striking appearance. Garrya elliptica is also large and handsome, and is a most valuable shrub for winter flowering.

When the basin of water is reached, it is found to contain four other figures on pedestals, one of them representing Neptune, and another a mermaid, and the remaining two herons. On the east and west sides of this pond, the ground rises into a bank, with large masses of evergreens on the summit. The bank to the east is the highest, and has a splendid Cedar of Lebanon upon it, the branches of which are held up by ivy covered props, so as to allow of its being walked under. Close to this bank is the dairy, a pretty object, and decorated inside with a row of busts on brackets against the upper part of the walls, with flints, shells, etc, on part of the shelves. The door is of stained glass, with wreaths of roses and other flowers.

In the neighborhood of the dairy, under the large evergreen trees, is an oval arch, formed with masses of fused brick, and supported on cither side with a miniature rockery of the same material, clothed with ivy, etc. The design of the aperture is to afford a sudden and confined view towards the park, embracing part of the lake, on the margin of which latter some masses of fused brick have been set up to form an object to this view.

Were the scene more definite and contracted, and did it embrace one principal and striking feature, it is probable that this idea of an oval opening, which starts from the level of the ground, and is about the height of a full-grown man, would be very effective, by yielding a kind of telescopic view without the awkwardness and trouble of having to approach so closely to a smaller aperture, or to move about with effort in order to obtain the desired survey. A better example occurs on the outer side of the round pond, where, after threading our way amongst large laurels, and other evergreens, which group themselves into a natural retreat called the Leicester bower, and turning at length between shaded masses of fused brick, which furnishes a shaded home for ferns and alpines, we come all at once to another oval aperture, through which we look out to the pond and its figures, with the grassy bank and noble evergreens beyond. Here there has been more preparation, by a winding and uncertain path, in deep shadow, among imitation rocks, of which the arch forms a part; and the burst of light which we suddenly obtain through the arch, with the limited nature of the view, and the existence of a more definite object in the pond and figures, render this much more satisfactory, and, indeed, decidedly artistic.