ie "1 i Liva ble Eiouke a ts Garden By Ruth Dean — | Landscape Architect Copytight N° COPYRIGHT DEPOSIT: —E > @ ee a ee ue we A ihe . * 4 ‘ . * * Sie 4 9 APP ROP RATE PEA Na iNiG oe Oe: GAR DEEN 2D7O.0 RW Ay House of Mr. James C. Breese, at Southampton, Long Island. McKim, Meade and White, Architects WEIR IR IRIS ERIS IRR ER IAI ER EIS ERE Mabe GIVABLE HOw SE —y Ye GE ee ee Ee et ee eT Te Se Se ae ae ae ae a a Ae eS Its Garden by Ruth Dean Landscape Architect petng. VOLUME <2 .0f a\ the Livable House Serves 3X edited by Aymar Embury 11 Koex Mottat Yard and Company 120 West 32nd Street, New York Bok Sek Bek Sek RR Se MCMXVII ) ' NB CopyRIGHT, 1917, BY MOFFAT, YARD & COMPANY Published May, 1917 To M. W. LNT RODUCTrORY — HE very real but undirected interest which we in “ oF ** America have always taken in the development of our ores grounds has of late become more purposeful and (al- though the word is much misused) efficient. We are beginning to realize the simple fact that a lot of flower beds does not necessarily make a garden, and we as a mass have only very lately discovered that the collection and planting of very beauti- ful specimens of all sorts of trees may detract from, rather than beautify, our grounds. Landscape architecture has, like all arts, a certain scientific side, and although its principles are perhaps not as fixed and definite as, let us say, the principles of mechant- cal engineering, it, nevertheless, has basic and fundamental laws which have been discovered through a series of experiments, and landscape work which is not in accordance with these laws will inevitably fall short of the desired result. We are far too likely to regard the house and its grounds as being two separate and unrelated problems, employing one ex- pert to design the house and another to design the grounds, and permitting these two to work without any harmonic purpose; yet it is as important to the appearance of the house that the grounds be co-ordinated with it, as it is to the place as a whole to have the house set naturally upon it. Landscape architecture as a pro- fession is still new, in spite of the enormous success which its first [vii] LO Hye SE OOD a Sie i ey ny great American exponent, Mr. Frederick Law Olmstead, achieved a half century ago, and the members of the profession, talented, brilliant and able as many of them are, do not find the general recognition of the necessity of their services which has only lately been accorded to the architectural profession. Some idea of the very great importance of a capable landscape architect can be ob- tained from the illustrations in this volume, and they prove that the landscape man (or woman) is as much a necessity in the small garden as in the large park, just as an architect is as indispensable to the design of a cottage as he is to that of a theater. Neverthe- less people continue to exercise their own judgment in garden- ing, as they do in architecture and in decoration, with results which in this art do not as a whole approach any more nearly a high level than in the others. People with some knowledge of flowers and with native good taste can plant a garden of a country place which will look well for a while or at certain seasons, but a very expert and technical knowledge of flowers and shrubs is needed if the place is to continue to improve with age. Much of the planting has of late been done by men from the nurseries, who look at the planting much as a carpenter does when he builds a house of good material without regard for the artistic result; they plant sound, healthy, and shapely trees without thinking of their future development. The layman, when he does his work himself, frequently forgets that the trees which he plants as a border may eventually entirely cut out or smother shrubs behind them, though the latter at the time of planting are the larger. In addition many of us know little of the seasons of flowering or [ viii | ji n t r 0 d u C t 0 roy of the exact varieties of bulbs which will vield most profusely and for the longest time, so that we very frequently find a home-made garden beautiful in spring, half blooming in summer, and bar- renin the autumn. It is to correct just such faults as these that a landscape architect is employed, and in considering the selection of the landscape architect to write this volume of the “Livable House” series, Miss Dean was chosen because of her very wide familiarity with the problem of planting with regard to its ulti- mate effect and her great success in work around small houses, as well as in larger work. She has achieved especial success in the treatment of the house garden, both in informal and in formal ways, and the admirable manner in which she has used native shrubs in combination has tended to give her work a more quiet and less exotic character than that of many of the other members of her profession. Added to this is the fact that her training has been under men who represented rather extreme differences of opinion in regard to landscape work, so that she has been led to perceive the valuable qualities of the several types of land- scape architecture and is able to apply to any particular problem the solution which best fits it. As training of this kind leads an artist to a more generous appreciation of the whole field of his or her work, a book written by such hands will deal in a more broadminded and generous way with all schools of design, than would one written by a person whose training had been acquired in a certain definite and limited field. Miss Dean has in addi- tion the very valuable faculty of being able to think clearly and express her thoughts simply, so that the results of her knowledge [ix] Lo FP Om Fao AO oT ey, are more easily available to the reader than those of many pro- fessional people, who, knowing their business, are yet unable to deseribext: Without attempting to survey even briefly the ground covered in this volume, the editor can sincerely say that his professional experience has led him to believe very thoroughly in the princi- ples herein set forth, and that he recommends them most earnestly to any one who is interested in the art of gardening. THE EDITOR. [x] Contents PAGE PVE RODUCrORY pues ee. os oy ie: bet 2) 2 bE TRE GROUNDS ASA’ WHOLE a ee Position of the house with respect to exposure, drainage, accessibility from street, and possible garden site. Forms and kinds of drives. Grading on approximately level ground and on irregular ground. Terraces, retaining walls and steps. II GENERAL PLANTING AAS as ee tee! Foundation planting; purpose of, appropriate and inap- propriate sorts. Border planting; woodland and garden- esque. Planting along drives and walks. Screen planting. Specimen planting. Miscellaneous flower planting. i a PRO W ER GARDEN.© WS « ac ah oe « 188 The “Planned” or, informally, formal garden; its loca- tion, design, arrangement of flowers, etc. Naturalistic and informal gardens. Location, design, matertals. iy RIMES ANDES BASONS: ¢. S-e & «>be T23 Spring planting; trees, shrubs, flowers, bulbs. Tall plant- ing. Pruning. Ve RDN RCH ITECTURE.” = re>-acom a: E38 Gates, walls, pergolas, garden houses, wall fountains, figures, seats, sun dials, etc. [xi] a ' o rar Wat The Illustrations APPROPRIATE PLANTING FOR A GARDEN DOORWAY .... .. . . . . . .£frontispiece flouse of Mr. James C. Breese, at Southampton, Long Island. McKin, Meade and White, 4rchitects A HOUSE WHOSE LIVING ROOMS OPEN ON A FLOWER GARDEN a ce ee ee ee a 3 House of Mr. G. W. Curtis, at Southampton, Long Island A GARDEN WITH A FOREST FOR BOUNDARY Grounds of Mr. Jonathan Godfrey, at Bridgeport, Connecticut. F. Burrall Hoffman, 4rchitect; Marian C. Cofhn, Landscape Architect Ay WALL WHICH CONNECTS. HOUSE WITH GARAGE AND SHUTS OFF THE SERV- ICE YARD AS WELL foie On kite ae bo a 7 House of Mr. William H. Marland, Brookline, Massachusetts. ‘Kilham and Hopkins, 4 rchitects FORMAL AND NATURALISTIC. VERSIONS OF Thi TURN-AR OA ND eee hoe es = a MS mn A TURN-AROUND SIXTY FEET IN TOS VIG POND WITH “THOSE TREES* AND DELRUW Bowe W HICH. “GROW NATURALLY NEAR WATER : eae ees 8. ONGs “Gravetye,’ estate of William Rawineon® Esq., at Kingscote, Sussex, England. Courtesy of Mr. Thomas W. Sears ioe CORNERS OF FLOWER BEDS. ARE -HERE Rae Ne) RC ED BY, SBR BIS - 5 i & = «-4. -65 Garden of Charles A. Platt, Architect, at Cornish, New Hampshire [xv] Lhe Lob dD ae Si a Es DIAGRAM FLUUS TRATING PLAN SING “UN TRADE BND Os Ave DIRS aE eye ee A CU RN UNG SPAS El SVWVeEe len SEE AON] sei 1) ei ce nr Garden of Mr. Edward E. Sprague, at Flushing, Long Island. Marian C. Coffin, Landscape Architect A TWISTED “SPECIMEN? TREE RES Ome SIBLE FOR? MUCH VOR EE (© HAR rom THE FOU NAN \ 69 Grosvenor Atterbury, Architect; Olmsted Brothers, Dandseane Architeces SEVERAL “SES OF <““"SPECIMEN??- PLANES ARE USED AGREEABLY “ON THIS TUE AR RAC Es... & pelea House of Miss R. Hoyt, at Southemiecon: Tans stands ihe nie Weeks, Architects; Ferrucio Vitale, Landscape Architect SPRING. BULBS NATURA LIZCE Dy UNV 2 Hee GRASS. oe. os 72 Garden of Edward E. Spree. Rea, at Pahehne Lene Teland: Maren C. Coffin, Landscape Architect A. JP ATH WISH PANT SWE) Ca VE viGe AS Zk ETS WOODLAND CHARACG TiGk = oo 78 Estate of Mr. W. B. H. Dowse, at West Newton, Massnchuetts' Pray, Hubbard and White, Landscape Architects aE FURST “WO: ARE: ADVIS A Big MOsReviEsS TO” WH iG. iO soir AR Aloe Ginn Skibt ‘TELLER De cL NAD VASA Bek sy 28 4: : se FA Asst RATIGH YT FLOW ER-BOR DER E.Di ow Alka 75 Estat of Edward E. Sprague, Esq., at Flushing, Long Island. Maman C. Coffin, Landscape Architect A GOOD COMBINATION “GE lVaNES= AND FE OW ERS AGAINST Ay WALL ee ty Garden of Charles W. Hubbard, Esq., at Auburndale, Migecachuse tis Olmsted Brothers, Landscape Architects A SHADED” ALE EY WELCH? FO eR Ss? ae Ae ENDRANCE. 2. 85 Garden of Miss Fannie Miulford, ba ‘Hempstead, oan Tela Ruth Dean, Landscape Architect AN ANTE ROOM. 1 OTe CARDEN 5 OOF Flouse at Villa Nova, Pennsylvania. Duhring, Okie and Taceler Architects [xvi] T h e VR ee ea E702 ss AND “AL LZOVER PATEFERN’ * “GARDEN =—VIEW TAKEN FROM. “A”? ON -PRAN « « % . 89 Garden of Mr. Aymar Embury I], 4rchitect, at Englewood, New We rsey PLAN OF- THE GARDEN : rere) Of Mr. Aymar Embury II, drchitect, Baclewoad, New Top tee. ne Gah OGEN Wiles UR ROUNDED >» « oe es « Oo Garden of Mr. A. H. Storer, at Ridgefield, Connecticut. Lay and Wheelwright, Landscape Architects A GARDEN WITH A NATURAL FOREST BACKGROUND wel ots, WN ce) 4s “gee ts to Se - AS Estate of Mr. Charles W. Hubbard, at Weston, Massachusetts Olmsted Brothers, Landscape Architects PEAN FOF THE GAR DEN : » # % 2. O§ Of Mr. Charles W. Hubbard, a Wesen Wicone ae tts. Olmsted Brothers, Landscape Architects AY BOUNDARY WiHtiChH “LIMIiTs THE GARDEN Wir Homt. SHAT PING. EE: TN 2° 22 ic: C4 «GF Estate of Mr. Charles W. Hubbard. Olmsted Brothers, Landscape Architects FLOWER BEDS. BORDERING A CENTRAL SCR Pie ier AMER 4... a Estate of Mr. Michael Jenkins, at Roland Park. B: aldinore, Maryland Sears and Wendell, Landscape Architects A VGAR DEN. WITH AN OPEN CENTER -- «= 2 « 99 Grounds of Mr. Jonathan Godtrev, at Bridgeport, Connecticut Marian C. Coffin, Landscape Architect; F. Burrall Hoffman, Architect A CENTRAL GRASS! PANEL OUTLINED Bar BOUee, » 2. a oe ey, PR et he ee Be Garden of Mr. Marshall ene at Southampton, Long Island... Aymar Embury II, drchitect VE EG Or oA SPOOL SHOULD: NOT BE ENTIRELY SURROUNDED? BY PANE ENG: 2. 3; =. @, $802 Garden of Mr. H. H. Roe at Soailnan ron) ene iene Walker and Gilbert, drchitects WATERSIDE PLANTS GROWING NEAR A FORMAL POOL ..-. hn oh Oe 22 pd) POS Garden of Mrs. Harry Payne vniney, at Westbury, Long Island Delano and Aldrich, 4 rchitects [xvii] (ie WASTE EARS. Te Io PLEASING | ey eae ET se pe PADS W EEC Hie EA eA KO RS Ra Calev@uNcs : Ce ee ee House of Mr. Thomas H. Kerr, at White Plains: New York. Albro and Lindeberg, FALLS SAT o LAL POOL Estate of Mr. K. D. Alexander, at Spring Station, Jensen, Landscape Architects END? OF “THE. SWIM yEENG, Architect As, PERRACK. GARDE, NeW Ho sAy Pio ais AGAINST THE Lea ee Rae eee H. H. Rogers, at Tuxedo, New York. Walker and Grounds of Mr. Gillette, dre AM oO. L. UDA 1) At Bedford Hills, New York. Pray, Hubbard and White. Architects A NATURALEIS On the grounds of Mr. Jens Jensen, AN UNUSUAL WORK hitects WALL ACP SHvAZ ARID" 2 Gr Ao Ni ee Landscape LY 3 GOOD" Pie CE Or RO SWIMMING POOL K. D. Alexander, at Spring Station, Renin Architect 1 on WATER SURFACE. OR EIN 7 lOO Kentucky. Jens Wants une 107 109 of hk® K Estate of Mr. K. D. Alexander, at Spring Station, Kentucky. Jens Jensen, Landscape Architect PLANS YOR GAY “COMLN PRY ELA Co At Bedtord Hills, ne bdo) | Seon ING rte LIN, At Newport, Rhode Island. Architects New York PO MRO IKK: 6G APRSDIEIN Pray, Hubbard and White, Weanaecane PAN TUNG. CHARACITE RUS WDC YOu sai rio MEARS ALY, 5 Ti Rae Architect RPiAN Tad NG Ww. Eo. Cr AMS NEAR CHT CAIG:O Estate of Mr. Harry Rubens, Glencoe, [/linois. Jens Jensen, Lo eCOonvrEN CIN GLY Dees ee Estate of C. S. Walton, Esq., at St. Davids, Pennsylvania. W ee na PLAN) sO: Ree Architects ROO Estate of H. Rubens, Glencoe, fino AN ARCH TAS VA BRAME DOUBLES. has LINGER Grounds of Mr. and Gillette, SN Architects ; A GARDEN Olmsted Brothers, Landscape [ xviil | Landscape Sears and DET rs 114 eS T3177 . 118 Architects cea A) Oe ae H. H. Rogers, at Southampton, Long Glee Walker i he -e i i ft meer WAY WHICH MAK ES 4 S Patt INT ERE St ENG Forest Hills Gardens, Forest Hills, Long Wena Architect et Oe As UNG “GATE AT Grosvenor Atterbury, drchitect AsSGATE OF: ORIGINAL House of Mr. Daniel E. Pomeroy, Embury II, drchitect E £ @ FOREST DESIGN t 10%n Aw O RW TN AR Y Wilson Eyre, HILLS at Englewood, New Je rsey. Wonae mw PbEASING WALL WIiPhH -sTUCCO AND MOLDED BRICK CAP “Huntland,” Estate of Mr. J. B. Peabody, Wilson and Brown, SIMPLE ROSE ARCHES DESIGN AuGATEWAY AND ARBOR AT FARM. OF Thomas, Architects PENT s Bi at Widdlebure. gee VERY GOOD x WALL PERGOLA, WITH VALUABLE PLANTINGS PACE AT: jl Rea 3 | HAMILTON SE Garden of Mr. Jonathan Godfrey, at Bridgeport, Connecticut. Mlarian C. Cofhin, Landscape Architect; F. Burrall Hoffman, A FAUN F J. C. Kraus, eater aS OLE VGH EE OL Oce CARDEN HOUSsS Designed by Samuel MacIntire in 1799 on the Osborn estate at Peabody, Massachusetts Bo Wo UAL Oba URE Wet BEE Ao ING. E. Lucchesi, Stoneworker CH is VERY Se ruNk REPRODWe TION sOFR A-NEO- GEREGCECOUE PHIEOS OPH ER J. C. Kraus, Stoneworker Architect dE. I4l 142 142 143 147 A GOOD TERMINAL FIGURE FOR PATH . ANOTHER TERMINAL FIGURE- 5 Cd Nal NOUd Spivey Sijipy Isol04 N 1 GOGO aGd TE Sh- oe SO. MG), We ae TE GO Hu es ae sole decoration around the base of a big house is too obvious a violation of the requirements of good foundation planting not to be censured. Flowers alone lack strength and that feeling of permanence which good base planting should have, and, moreover, they are out of scale with the size of the house. They need shrubs or vines as a background to make them count as a mass rather than as individuals, and to leave something growing in their stead when they die down at the end of the season. By the term border planting—the second of the miscellaneous sorts under the head of general planting—I mean combinations of shrubs, or shrubs and trees, such as one finds planted along a fence, substituted for a fence at the edge of a piece of property, around a garden, or at the end of the lawn. ‘These borders divide themselves into two classes: naturalistic or woodland borders, and gardenesque or suburban. They are two very different types, and a sharp line should be drawn between them, because, in practice, distinguishing the two makes all the difference between a commonplace garden and one with a really individual quality; or, in bigger landscape work, the contrast between a scheme grandly conceived and one which is petty in spirit. The first sort of planting is made up of native trees and shrubs —those which grow naturally along meadow hedgerows or in woodland borders; this kind of border should be used away from the house and the cultivated garden, in places where a transition is to be effected between the wild and the cultivated, or where the [58] GE Dek so ED: PROPERLY NEAR TA HO-U-S EW AS House of Mr. W. E. Seeley, Bridgeport, Connecticut Murphy and Dana, Architects [59] | ee ae 1527 Se 0. oder’ ERX OO 8i esa spirit of native things is to be introduced or preserved. This bigger, freer sort of planting should be founded on the particular kind of landscape in which it occurs, and should follow Nature as closely as possible. A lowland border would not be composed of the same trees and shrubs as would an upland border, nor would either of these plantings be the same in IIlinois and Massa- chusetts. Any naturalistic planting should express the character of the land where the border is being planted, so as to bring out the individuality of different parts of the country. Discard the bad characteristics of your especial piece of property, pick out its good features, and emphasize them, if you wish your garden different from your neighbor’s, with a quality of its own. If you have a stream on your place plant the borders near it with those shrubs and trees which grow in the neighborhood of water: alder, red-stemmed dogwood, the lacy, yellow-flowered spice bush, willows, birches (black and white), elderberry with its white panicles of fragrant flowers (which turn into berries that make the most delicious pie in the world), arrow-wood which also has white flowers—deceiving white flowers, for they tempt one into smelling them and then offer a vile reward; button bush, with its shining leaves and white balls—and an indefinite list of other friendly things, which like low places better than high. And then if your border goes up hill, plant in it the shrubs which do not mind burning in the sun of a long hot July after- noon—sumach, wild roses, hawthorn, crabapple, sassafras, bay- berry, red bud, and witch hazel. But above all things, in planting [60] Peake ik .OcF SN-O POV ERs, ob -OoU. 7: Ta FLO Ss E iO UN BAS tL OuN Garden. of Mrs. |. Clitton Edgar, af Greenwich, Connecitcut Marian C. Coffin, Landscape Architect [61] Lp | Re ye eee FT 08 4 Sse such a border as this, keep out the petty gardenesque feeling—one weigelia will ruin the character of a whole group of field plants; save the nursery shrubs for the flower garden and the planting near the house. The converse of this warning is not true—any number of na- tive shrubs and trees can be introduced into a border of lilacs and spireas and altheas, without hurting it in the least; but one shrub of this tamed company is enough to dispel the illusion of an entire naturalistic planting. ‘The same strict rule is observable in connection with evergreens; cedars, white pines, Douglas spruce, and other native evergreens take their places very prop- erly in woodland plantings, but retinosporas, cryptomerias, golden arbor vite, smack of the nursery—and destroy utterly the free spirit of the woods and fields. Some landscape architects never get away from the suburban type of planting. Their materia medica, so to speak, consists of the contents of the nursery catalogues, and they treat a big park just as they would a little garden plot, using over and over again barberry, snowberry, forsythia, mock orange, and spireas, with perhaps a few native shrubs mixed in, out of deference to a dim idea that parks should be planted a little differently from small places. But the big conception that country is only to be intro- duced into city by means of fidelity to country planting, or that the spirit of existing country, its own particular charm, is to be preserved only by adherence to the example it sets, quite escapes them. A big meadow will never have the feel of a real meadow, will never be anything but an enlarged lawn, unless it be fringed [62] 1 LY {0 K{sazanor) ‘puvjouy ‘xassng afc Bl Ba at ies yy 1S, GeNGY 4S SIvIS “AA SVUIOUT, “J ‘ IN dW NE GLGErclll, TNed fv ON GSO Tek. Th aoossury jv “bso ‘uosurqoy wreryyt MOUD [AY GON M {0 avisy ,ahaavsy),, el) ele Oradea INV 'Id [63] Te TOS 0s Sb, alee TIE Os as Sean with true meadow planting; the petty suburban feeling creeps in by way of privet and weigelia and deutzia—and the spirit of dog- wood and hawthorn (the native kinds, not foreign introduced sorts), hazel nut, and sumach is gone. I do not mean to be decrying the obvious merits of our faithful flowering shrubs; they are very useful and very beautiful, but I should like to make it clear that they are essentially of the house garden—that they have a tame cat feeling which belongs near the house, and that they should be left behind with the house when it is the spirit of woods and fields one is trying to recall in planting. These principles are true of the elements of planting along drives and walks according as the groups of shrubs and trees are near the house or remote from it. The form which the planting should take depends upon the form of the drive or walk. The avenue type of planting, that is straight rows of things, should be confined to walks or drives which are straight; irregular lines demand irregular planting—both as to height and breadth— and a drive which twists and curves should not be bordered by straight ranks of trees and bushes of even height. It is probably unnecessary to say that no drive or walk should curve without appearing to curve for a reason, and if it curves just for the sake of curving an excuse has to be supplied. Under some circumstances it so happens that it is undesirable to fill up all the bends of a road with bushes; they are apt to give a shut-in feeling to the drive which at certain points is unpleasant. A tree or aclump of trees in such a position furnishes the needed ex- [64] RE 4 7) ay “Ted Aa Ak HRUBS ct, at Cornish, New Hampsh DS R- BE 1D a ei 4 4 4 CORNERS OF FLOW! ~ 4 sila Ws 5 ia 4 PORE IN arden of Charles A. Platt, Arch ~ ad R i tre ite G Te de ue [omit ne el Ae TagocO: ape ase cuse for a turn and at the same time does not produce the confining effect of a solid mass of bushes. The off side, so to speak, of a curve is less important as to plant- ing. The group of bushes or trees, if any are used on this side of the drive, should consist of kinds similar to those on the opposite side, and may be carried back away from the drive in some such form as that shown in the dia- gram, with low growing stuff in front to emphasize the bay, and higher growing things be- re | : Zu € | hind. Correspondingly, the point on the opposite side might be marked by high shrubs, although observance of the demands of automobil- ists who must be able to see » SEN TRANCE ‘Deve : : - along the: entite lenothotea drive, is fast leveling off all Diagram illustrating planting border planting. in the bend of a drive Phere isaipikely seaninen! tal reason for making the planting in a bend high, to which I, who do not mind driving slowly along a curving road, am inclined to cling, and that is the pleasure of not knowing what lies just ahead. Mystery always has its charm, and I would rather be surprised by coming out of a wood suddenly onto a green stretch of lawn than know all along that presently we shall be running at the edge of the green velvet strip, which I can see across the low bushes. [66] — ™ by >) Q is ® eee WR Vy WIN Go PoAg Eis W Bale ly Pols AN ie D Garden of Mr. Edward E. Sprague, at Flushing, Long Island. Marian C. Coffin, Landscape Architect [67] thie 1S GUS ee Ae. Fi 0. ase Screen planting, the fourth kind of general planting, may con- sist of irregular borders of shrubs and trees, or of hedges. The latter are usually regarded as the logical means of screening a service drive, or laundry yard, or unneighborly nuisance. ‘They are the most obvious form of screen, the form most often used, and in some ways the least effective, for their purpose is generally as apparent as that of a trellis or wall would be Mike these they need planting outside to tie them into the general land- scape. Any kind of clipped hedge is, of course, slower in attaining height than plants which are allowed to grow unchecked by the pruning shears. It follows that a free-growing border will screen faster and more effectively than a hedge. But the most valid reason for giving any irregular planting preference is that it can be made a part of the landscape. When a hedge is used either for a screen or as the boundary of a garden it should have some- thing in the way of transition planting outside it—a few groups of shrubs and trees.to break the definite form and regular line of the hedge, and to “ease” it into its surroundings. Of the deciduous hedges, probably privet is the most common and the most useful. It is obligingly adaptable, grows quickly, and has a dignified appearance. Barberry makes a somewhat smaller hedge, never growing over four or five feet high, and 1s more spreading in character. Some effort has been made to 1n- troduce hornbeam and beech as hedges. These are both good, dignified hedges, and along with our native hawthorns could be utilized delightfully around gardens; but their slow growth [68] 1 a WO spoaplyoapy advospuv'T ‘siayyoig paysuyo - NeIeVeN TD) Oat a A ah OIA ay poaqyIapy ‘KINGIIYY IOUIASOIO) EO) a Abe a Oe 1 WLI SNOadS ad 2aut «NAW TOad S$), Ga tsiaey OA pee pe C4 - ee | Deger eae Mea ae ee TEL 0! Pir es eee and greater cost too often combine to make the weedier privet a favorite. Among evergreens, more fame attaches to the name of box than to any other kind of hedge. It is truly the aristocrat among hedges, and an old specimen commands respect and veneration from a hurrying generation, which appreciates to the full its meager inheritance but fails to provide for its children any more generously. It is only human to want immediate returns on an investment, to plant for an early effect, to be impatient of waiting for results; and yet a garden should be planned with some eye to permanence as well, and the poplars that go in because of their rapid growth should be tempered with timber trees to give dignity to the garden a decade hence, and a beech hedge started whenever possible to overawe the privet by and by, or one of hawthorn, which will cover its twisted old stems with white blossoms in the spring and red apples in the fall. To return to evergreen hedges, both dwarf arbor vite and the yews (taxus brevifolia and brevifolia cuspidata) make good low hedges; and hemlock, arbor vite, and cedar are all more or less dependable high hedges. Of these arbor vite turns rusty in the winter and hemlock sometimes “kills back,’ but at the height of its glory hemlock probably comes nearest to possessing that dark, solid green appearance of English yew hedges, which is so much the envy of us in our drier climate. Ilex—of somewhat doubtful hardihood in Northern winters— [70] 11 «SJIAIY: cha ) joapiyoapy advospuvT ‘ayeyiA o1onis9y 4P ‘SYIOAA pur ssIpY ‘puvjsy buoy ‘uojdweynog yo YAoY “yY ssipy fo asnopzy doy dd Aebe Sa eNO A id V aad Oy Pay Se aN Vid wan. A adS55 oO Sha S SV ava | ‘Ufo “O uUvIIeI\ 2 a icy Sey uo aH NI q JIAJLY IAP advospuv'] ‘puvjsy buoy ‘surysn{y 7? “bsg ‘anseidg ‘q piempa fo uapsvyy Gaz Tad ve Oe VeNee cel 1 id) Needle uy" t ay i rae Rey i cee had nN spoaptyIapy advospuv'yT ‘Oy AA pue pivqqnyy ‘Avid ‘s#JasnyovssvPAT “UOIMINT ISIAA 7 ‘OIsSMOC, “H el dieoey. veh) CCE Ney a Om. Cl a 7s Vv dee Ee) eo S cb NEW Aid a an * cE ‘TM WT fo 91ST NNeew te eV rele Ai eet sae, Le st, da 0 ade TT! 0 2, Se trims well into a hedge, and has no other fault than its great ex- pense. Perhaps a word as to the form to which hedges should be trimmed would not come amiss. If the hedge be appreciably wider at the top than it is at the bottom it holds the snow in winter, which is apt to break apart the bushes, and prevents both moisture from reaching the roots and a full amount of sunlight from com- The first two are advisable forms to which to shear a hedge, the third inadvisable ing to the lower portions of the hedge. For these reasons a hedge trimmed straight up and down or with a wider base than top, is better than one of a wedge shape. The term “specimen planting” immediately conjures up pic- tures of a lawn spotted over with blue spruces and Japanese red maples—and weeping mulberries. ‘This is the sort of planting which has attached unpleasant association to the term “specimen [74] Ceo BUA Bee rik Neg Net ol aN ais Wo) LE hee Ea oO as pea ate Ei 0a 21 ee paths. At the same time the very crowdedness of things in the picture of Mr. Aymar Embury’s garden is not without its charm. The paths of either type of garden, however, must have a pur- pose, must lead somewhere—around the garden and in and out— for a path with a blind end, a path along which one walks only to turn about and retrace one’s steps, always contains disappoint- ment. Next in importance, after the location and design of the garden, comes the arrangement of flowers. I am sorry to say that al- most every one is prone to look upon the flowers as of paramount importance. It is true that sheets of bloom will conceal a great many defects in design; but the flowers are passing, and may be changed at any time, whereas a garden once laid out is often 1m- possible to alter. Color and season are the two factors in flower arrangement which must be considered simultaneously. If one has planned to have no red in the garden at the same time pink flowers are in bloom, it is disconcerting to have the scarlet of oriental poppies flaunt itself in the face of a rose pink peony. Red is, in any event, the greatest trouble maker in the garden, and when one has made up one’s mind to have the warmth of this color everything else must be planned around it; moreover, no two reds are alike, and a red garden must consist almost wholly of one flower or at least of the one which happens to be in bloom at the moment. Con- sternation is in store for the jumbler of reds—one has only to think of the cardinal of lobelia, and the good honest turkey red of scarlet sage ablaze at once to realize this. [92] %, ak a on aia. ke ae Gene Oo haNy WoT EVAN AT © RX te FOREST BACKG ROW ND Estate of Mr. Charles W. Hubbard, at Weston, Massachusetts Olmsted Brothers, Landscape Architects [93] ‘ ES he Tao ae A ae HOG se The fewer the varieties of any color in a garden, the greater are the pictorial effects obtainable, and a good plan to follow is to pick out a succession of twos, which will be blooming at once, and plant the garden all round with groups of these. For ex- ample, a succession consisting of the following pairs: pink peonies and blue anchusa, yellow coreopsis and the resplendent blue lark- spur, purple spikes of veronica and pink phlox, lavender asters and bronze dahlias, provides the garden with a series of color combinations which should be very lovely from May until frost; the overlapping of seasons—for of course some few flowers of each group will come into bloom before the preceding group is done, and the coreopsis and larkspur will flower more or less all summer—will furnish the garden with a sufficient amount of va- riety to offset the main mass of bloom. ‘These combinations may be varied infinitely: salmon pink oriental poppies with their silky flapping leaves are lovely with the blue of Italian alkanet; and the prickly lavender balls of echinops are pretty with a deep salmon phlox. | White is always good, even in a garden which sets out to con- fine itself to rigid color combinations; in fact, it may be used to furnish the body or warp, so to speak, of the pattern; white phlox, or shasta daisies, or gypsophila, woven in all through a garden of two contrasting colors adds a lightness to the whole picture which is pleasing to the eye. In any arrangement of few varieties such as this, the same groups should be repeated all along a border—or at intervals the whole way round a garden—so that when peonies and anchusa [94] ~ ~ cy Q QR s Qu ® = MR CHARLES W. HUBBARD WESTON- MASS. GENERAL PLAN TOR FLOWER GARDEN SCALE OF FEET ie) <2) D0 40 50 ' ' I OLMSTED BROTHERS —LANDSCAPE ARCHITECTS KLINE MASS. - OCT. ISIE i EER GS ae * Sr 1 > aD 2 Sta SS a im Bt ser WALK TURP rig at: ie pete ent eee alt B Cr arity Fgh a ae ti \S) . Scena be po ites pater H} abt F! = “WALT . a { ee: WJ LO MSF td yy eats Gig Apes Exe: EL ¢i Ai i. ; pag ue ! "-EAWN, 258 i- LAW? 4 | 5 = es so ed = se Plan of the garden of Mr. Charles W. Hubbard, at Weston, Massachusetts. Olmsted Brothers, Landscape Architects [95] ee L 1 Ua tb lee TL 0-7 ee are in bloom, peonies and anchusa flower all over the garden and not just in one portion; or when phlox and veronica are in season the whole garden is aglow with purple and pink. In a garden of many varieties a somewhat different arrange- ment must be adopted so that the flowers will not have a scatter- ing appearance. More varieties necessitate fewer flowers of a kind, and these must be planted in groups big enough to count as masses; and the masses, moreover, must drift into one another and not have the appearance of blocks. ‘To accomplish this latter ob- ject it 1s necessary to lap the mass of one kind of flower by that of another; or, to put it another way, to scatter one group into the Next: Color arrangement of this sort of border is complicated and difficult to manage effectively. Muss Gertrude Jekyll, a very able writer about English gardens, has taken up very fully in her book called “Color in the Flower Garden,” the graduation of color in a border. Muss Jekyll says that it is possible to plant, beginning with yellow through orange and red to pink, purple, violet, and blue—and this is undoubtedly true of one of those illimitable English borders which seem to stretch away to infinity. Un- fortunately American gardens are sadly lacking in borders four- teen. or fifteen feet wide and three hundred feet long. For the most part our gardens are small, and it has been my sad expe- rience that some of the vivid zinnias have been just as blighting separated from the pink phlox by a patch of white as they would have been next door to it. In any garden, all of which 1s visible at once, it is best to limit the flowers to varieties which harmonize, [96] 11 r spoaptyoap advospuv’yT ‘ssayloig paswyQ “pleqqney “Ad sepiey “yy fo epvisay LioO HG. NI wf Ate NE a Cldy "els SN dah OTS SLEA LA HOTe AY Aay GN DO dy Lo7] e pi ae =e EE OP 2s hh 6 spoaplyI4py advospuvT ‘{Ipur AA pue sivag ‘“puvpjhavpy ‘asoumijvg “yieq purjoy 7 ‘suryuaf{ poeyoly, “4p fo agvisy Chal dO bgeG |) eo of tiles al Wy LN at OV NT er O sd SG adie ey ae Oe leet Gor, Pe [98] 11 ( eo JIIJIY IAL ‘UBLUJJO FY [eling “47 JIPPYIAP aqvospuv'y O URTTRT ynoyIauU0!/ Wodasplg 7 ‘Karpypos ueyyeuol «py aan aig NN Ci dO NV HLIM NAGUVD Y {0 spuno Go [99] The Lene PO Gd re ae TL RO as and to save all the others for a secret garden, or a cutting garden. ian) It is hard to rule out one’s favorites and consign them to a general mixture, but it becomes necessary when they clash with other favorites, and when there is not unlimited space in the main garden. In arranging flowers with respect to form, the main thing to re- member is that a general uniformity in character and size of plants is undesirable. Low things need to be broken occasionally by taller plants, large leaves contrasted with small, and fine lacey foliage solidified by coarser-leaved plants. The general rule that tall things should be kept to the back of the border with lower growing plants in front, ought not to be enforced to the point of giving the plants an appearance of tier arrangement. The hollyhocks and boltonia and foxgloves should run forward here and there into the phlox and sweet William, in order to break up their too even line, and the blue bells and for- get-me-nots would suffer no harm from an intrusion of the phlox and sweet William. An occasional shrub or bush rose, if the border be very wide or over long, is pleasing among the flowers, and used at the corners of flower beds it acts as an accent and contributes strength, where strength is desirable. Some regard for appropriateness in character should be exer- cised in flower planting even in the formal garden. For example, plants which recall something of the feeling which belongs to watersides should grow near a pool. Iris and grasses are reminders of streams; so are blue forget-me-nots, the brilliant [100] rewky ‘puvjsy buoT ‘ xXOd Aad GANIILL poayiyoapy ‘FY Arnquiy uo}dweyinog yy ‘Ai [[eysieyA, “py fo uapsvyy NO TaN Ved ‘SS Vio TV Nay [ror] SJIIJIYIAP HIIPID pue Joye ‘puvjsy buoT ‘uojdureyynog 7y ‘siasoy “YH py fo wapsvyy OUNCE ING WES cel hetsh MER GhGOMIN IO valet Obs) eae cleietel Nec: sced-- lf OoNt Ceara O Hrs: 1-OO dl WV 1O ra oO Gh aah Y i 15 eG) hi iE % De lig W AEE RSD PLANTS. GROWLNG NEAR Ayr OUR MM Ad: POM 1. Garden of Mrs. Harry Payne Whitney, at Westbury, Long island. Delano and Aldrich; Architects [103] Eh %e Eo ft 6o 4a" OG ele TEE sO) ar - Se cardinal flower, ferns, purple iron weed, tall marsh mallows, and the rosy Joe pie weed. It is surprising how at home these plants are in the garden proper among their more aristocratic com- panions, and how much of real charm—a charm which is due to their appropriateness—they lend to the water near which they grow. . If the pool is to have a really friendly feeling, the planting should extend in places to the water’s edge. Nothing is colder and less inviting than a stone-rimmed pool set in the midst of gravel. It has a harsh, ungracious look, that just a few leaves bending over the edge would mitigate, or a stray vine soften. On the other hand, it is bad to surround a pool entirely with flowers and shrubs so as to make it inaccessible. Places for planting near the border should be incorporated in the design in some such way as to provide walks to the water’s edge, and intervals between, for iris or ferns or grasses. Planting for the surfaces of the water itself needs care and thought for appropriateness, as well as regard for scale. More often than not pools too small to warrant such huge leaves are planted with lotus, or tall cat-tails, or both, when their size really demands the smallest of the nympheas and the fine leaves of spike rush or Scirpus. Most aquatics grow rapidly and unless they are constantly thinned out they cover the entire water surface and leave no mirror to reflect bending purple flags, and white clouds. With a little taste and care in thinning, the groups of lily pads and grasses may be made into compositions interesting and pleas- ing in themselves. [104] Wi t s G a r d e n ee li ge : — we PAS Me : , Wao RebLyY (PADS WALGH LEAYV EA EE AS ENG WARE R< SURFACE OF EN. HOR REE EE CrrONS House of Mr. Thomas H. Kerr, at White Plains, New York. Albro and Lindeberg, Architects [105] FALLS “f Tee 2NDO or dig stes SWIMMING POOL Estate of Mr. K. D. Alexander, af Spring Station, Kentucky. Jens Jensen, Landscape Architect [ 106 | 72 Hi xX. FOOL LT PE Ale l: Gee RED NE Vy i NGS BW 7B ROR ALC E A (Misl T eG rounds of I York at ‘Tuxedo, New Rogers, H Walker and Gillette, Architects Ao A / G [107 | The Ve LC oro va law EL 08 4s ae The aquatics in the average pool should consist of hardy varie- ties which may be bedded in the pool bottom itself, rather than the tender sorts which for cultural reasons have to be planted in pots. The pots are too apt to show through the water, and introduce an artificial quality which detracts from the grace of the pool. Fitness, which is only a synonym for appropriateness, depends in pool planting, as in all other kinds, upon attention to details which will emphasize the character of the area to be planted— details which will contribute to the effect to be produced. Ina rock garden alpines are appropriate, plants which naturally make their homes in the scant pockets of earth between rocks, and if the stones are not large one uses the smaller flowering and smaller foliaged plants, reserving those with coarse leaves and large flow- ers for the garden which can boast boulders. Similarly, about a pool, however formal its character, those things should grow which emphasize the feeling of water, and if the pool 1s a large one the flowers and shrubs may be correspondingly big, whereas, if it is small, they must not reduce its size still more by too great contrast. The location of a pool in the design of a garden is something about which it is hard to generalize. Lying out in an open space of turf or gravel, the pool is apt to lose scale, to flow away on all sides and become insignificant. Moreover, such a position is likely to preclude any planting about the pool—and half the inter- est of water in the garden is due to the things which grow near it. Bending over it and dipping down into it, they give it warmth and friendliness and life. At the same time it is pleasant to be able to [108] 11 SJIAPLYIAE - advospuvT ‘dy Ay pue preqqnypy ‘Avig YOK Many ‘SIH Ploypog 1P” NTO oa Od Wy ZV Ed Voy oad Gl S.5 Vv poayiyoapy advospuvyT ‘uasua{ sual Kyonquay ‘uoneg sutidg 7 ‘iopuexslty “d “NM “WW fo spunosh ay} UC TiO Ord, NEL IAN IA TANG <3 I Sey? ay Ney a é ‘uasud [ YUOM YW S ua [ “Cy JoapIyIapy agvaspuvT niuay ‘UoNeIG sulsde Jo ‘sopuexsTY ‘q “yf JOU 2O° dO tid GOOD ATTY is “yy fo IIVIST {1 Noty NV Lh we ete GO ae Tel 30, “19s ale walk all around a pool, to see it from different vantage points— and to come up to its edge in places. ‘The free standing pool as well as the wall fountain type of pool should be designed so as to provide for planting spaces about the edge. Of informal gardens there are two sorts: the “studied haphaz- ard” garden, and the pure naturalistic garden. Mr. Henry V. Hubbard makes the distinction between the two by saying that the design of the first “consists in informal masses arranged with no particular attempt at naturalness, to make a pictorial composition, and on the other hand, informal masses arranged to give this pic- torial effect, but also to look as though they were organized by some of the laws of untrammeled Nature.” ‘The first sort of gar- den is illustrated at its best in the picture and plan of the Bedford Hill garden. The planting is so arranged as to form a vista em- phasizing the delightful view, and the dark foliage of evergreens is an effective background for the flower masses. If all “infor- mal” gardens were as successful as this one, I should be unquali- fiedly converted to the type, but I am bound to say of this kind of informal garden in general that it seems to me to have no place in real garden art. It is a mongrel kind of garden, an in-between type—something that is neither formal nor naturalistic, but just a compromise. It usually means that its owner has told himself he does not want a “formal” garden, but—unwilling to give up all the nursery plants of man’s making which have no place in a truly naturalistic garden—he has made this half-way garden, which is neither one thing nor the other. It seems to me that it 1s much better art to put these hybrid flowers and shrubs into a frankly ura] COUNTRY PLACE AT BEDFORD H/LLI. N.Y, PLANTING PLAN FOR, EVERGRLEN AND FLOWER, GARDEN fo Pa) 10 20 Dray, UaBARD AND WHITE LANDSCAPE ARCHITECTS SAN -19/) BOSTON MAD Plan of a country place at Bedford Hills, New York “laid-out” garden, where, in their off seasons, they will not look like a ragged fringe to a shrubbery border; and then, if one wishes an informal garden, to build one which is truly naturalistic, with as much of the spirit of woods and fields as it is possible for art to capture. This sort of garden should be remote, or at least seem to be re- mote, from houses and artificial things, and these may be banished by means of tall planting or grading or a combination of both. ers] spoaqtyoapy advospuvT ‘ayyAy pue pleqqny{ ‘Keld ‘puvjsy apoyy IOdMON IP Neaacl exo) Soro dV ON OP Needed Saal iay Peer ees Prete e. ske oe. aor * 7 Se [114] HN r poaqyoapy advospuvy ‘uasuof sual ‘srourppy ‘90dua{D) ‘susqnoy Alieyy “py fo agvpsy OOVOIEBO UVAN SAVAULS BES etvi GL tO Obs IUeLOoOV dv no ONEN Yad Toh Re Le ae ol ee Tle Ro iy 0 he Probably the only way to get the right sort of atmosphere into a naturalistic garden is to study the country around it and adopt native characteristics; that 1s, the good characteristics. The bad ones should be discarded and the good ones emphasized, for this is the only way to preserve the individuality of each particular bit of country. If you are making a naturalistic pool down on Long Island, or in any portion of the country where no rocky streams are to be found, resist the temptation to import rocks and boulders to put along the edge of the pond. Make it true to the type of pool which occurs in the neighborhood; let the grass run down to the water’s edge, broken at intervals by clumps of iris and tall grasses, sagittarius and button bush, with cedars and black alders and dogwood to form a background. But if the streams and pools near your house are rocky, stones may border the water’s edge with perfect propriety. Be careful to have the majority of them big stones—or the water’s edge will look cluttered and restless. Ferns tucked in among the rocks, and wild grape vines spreading leafy layers over their surfaces, will help fit the rocks into the land, and an occasional tree or bush growing out of a crevice may be made to have the casual charm of a “happen-so.”’ Mr. Hubbard’s Newport rock garden is a delightful bit of truly naturalistic gardening, and the remarkable thing about it is that the picture was taken only three weeks after its creation. Another unusually good piece of rock work is that of the Alex- ander garden at Springfield, Kentucky. Mr. Jensen’s versatility in bringing out the individual qualities of totally different parts [116] U1 SJIDJIY IAP agvospuv'T ‘T]apusAA pure sIvIg ‘viuvazAsuUag ‘spIAeqd 3S 7” “bs ‘uoiye M ‘S(O fo 220187 OD lake TT Vee NGA eNO Nel AN OD 25 1 JEL Oe A 2 NE Neve te ate e* STM pa ea UW EP [117] a a * ae AS = ’ abt ath 2 aay oh a CEE es f fee S, ‘ a me Ti Whe Be Ty P20" G20: 21 e Vs Mae coe ES ee of the country is illustrated in this and his handling of the Rubens water garden, which shows the marshy planting of the prairies. No vegetation is quite so markedly characteristic of its habitat as that which grows near water. ‘The grassy leaves of cat-tails, spike rush and iris, the luxuriant marsh mallow and swamp milk- weed, bending willows, alders and birches, all have a quality which is associated very definitely in our minds with streams and ponds, or brooks and marshes. On the other hand, such nursery shrubs as lilac, weigelia, golden bell, and deutzia belong to the tamed company of the house garden—hollyhocks and nasturtiums are quite appropriate among these, but in the naturalistic garden they introduce a gardenesque note which is altogether out of tune with the native chorus. The principle of adhering closely to native forms and plant materials is not confined to water gardens, but applies as well to APlanting Play fer the Poos LSmaTE ¢ KH. LUBENS~LIQUILE GLENCOL~JLLINOIS aq Scale. £>f0' Gl ao He Re AD s x s ( Dozwood, Yury, =, : oe t. Dine borA, Black Loupoe of Mighousr Cranberry ee Cedorsy _Colemagrostss ns Di Ss Apisfogia Contents fe 3 fWative wrekan les, Vogatoria Spina Lash = Cedars eae woe. ANG * ——_ Cegery ——~ Ax Plan for the Pool Estate of H. Rubens, Glencoe, I//inois [118] I t s G a r d e n rock gardens, or woodland gardens of other sorts. In order to be convincingly naturalistic to charm us into thinking we have stepped out of the world into a lovely bit of Nature’s gardening, we must follow her suggestions and use the materials she pro- vides. [119] Times and Seasons CAEb Ash: IE Re eG) TIMES AND SEASONS Soe HERE are as many theories about proper times for é T “* planting as there are nurserymen and gardeners. Al- press most every one has his own pet ideas about the best season for moving this tree or that, based, of course, upon individual experience, but almost every one agrees on the two main seasons of spring and fall as the periods of greatest ac- tivity in transplanting. The purpose in moving plants at these two times is to catch them while they are in a more or less dormant state—in the spring before the sap has started up from the roots, and in the fall after the plant has ceased to grow for the season. It follows that it is desirable to move in the fall all those things which start into life very early in the spring, and at the latter season the more sluggish things which are slower in responding to “the urge of spring.” In the first class are such shrubs as honeysuckle, lilac, and spirea, together with dogwood and for- sythia, whose flower buds for the next spring are all set in the autumn. These plants begin to grow very early in the spring, and if they have established themselves in the fall they will be ready to grow uninterruptedly when spring sunshine sends the sap up from their roots. Fall planting of deciduous shrubs and trees may be started as [123] Tos ae Lee Wa aan. eee FT’ <6. 44h S-aee soon as the leaves have fallen and continued until freezing weather makes the ground unworkable. ‘The sooner the plants are moved after they have lost their leaves, however, the better, because root growth does not cease with leaf growth and the plants should have as much opportunity to get established before the ground hardens as possible. Some shrubs or trees are moved with greater difficulty than others, and it is wisest to defer planting these until spring; birches and lombardy poplars are among this company—the latter fre- quently kill back if they are moved in the fall, to one-half of their height or more. Magnolias moved late in the fall are apt to be unsuccessful, as are also most of the oaks, which at best are none too easy to move. But aside from a few exceptions such as these, the great body of deciduous shrubs and trees can be moved as well in the fall as in the spring, and the rush of the spring garden work greatly lessened thereby. The autumn season for transplanting evergreens begins sooner than that for deciduous trees, because the former cease leaf growth for the season earlier. From the last of August onward ever- greens may be safely moved, and although my personal prefer- ence is to finish the evergreen planting as early in the fall as pos- sible, I have planted both conifers and broad-leaved evergreens in December without loss. Care in preserving the roots, packing the earth firmly about them, and a protecting mulch of leaves or straw will go far toward insuring the life of these plants. Winter planting for trees both deciduous and evergreen is also practiced successfully. The trees are prepared for this sort of [124] jl t s G a r d e n moving by means of a root pruning machine which cuts around underneath the tree. ‘The ball thus cut is allowed to freeze solid, when the entire mass is moved to its new home, packed into place, and guyed with ropes. Roses may be planted during the autumn season as well as in spring, but they should be well protected. Halling the earth up eight or ten inches about the plants will shed water, which in winter is the damaging element to roses—and an additional pro- tection of leaves or straw over the hills will keep the plants from alternately freezing and thawing. There is always the danger that roses and perennials will be eaten off by mice and other vermin which burrow beneath the pro- tective layers of straw and leaves; against these pests outdoors, fraps and cats and ™ Paris green” are of little avail. Most of the hardy perennials are best planted in the fall—be- cause they start to grow very early in the spring, and interrupting this growth by the process of transplanting means practically a season’s set back to the plants. The work should be begun in August, however, and ended if possible by the first of November. Lilies and Dutch bulbs, in which latter term are included tulips, narcissi, hyacinths, crocus, squills, chionodoxa, etc., like- wise need to be planted in the fall, for outdoor work. Spring planting of trees and shrubs may be done as soon as suf- ficient frost is gone to leave the ground workable; it is very de- sirable although not absolutely necessary to accomplish it before the leaves come out, because if the planting is done after the leaves arrive they wither and drop, and while the bush or tree is form- pias! ee there ea) a. eee Jol a Mey 2 ing new ones it presents a discouragingly dead appearance. In fact it is just at this stage of things that most new gardeners lose heart when they see the thrifty looking bushes and trees they bought from the nurseryman, or had moved from some flourish- ing hedgerow, looking like so many dead sticks. Probably no other art exacts so much in the way of patience and faith from its followers for the first few difficult years, as gardening. Moving stock, especially stock which has attained any size at all, involves a shock to the plant from which it requires time and demands in- telligent care to recover, and everything which can be done to help it establish itself is worth doing. Just sticking it in the ground and leaving it to its own devices will sometimes work all right, where the ground is exceptionally good, and moisture is plentiful, and the plant has a good root system with which to start. But it is very seldom that any plant is started under such a set of circumstances, and to “insure good results” it must be watered, and mulched, and sprayed where insect pests are trou- blesome, and this done not once, but recurrently throughout the first year or two, after transplanting, or until it has had time to adapt itself to new conditions. These conditions are made more difficult by untimely planting, which entails a proportionate amount of extra care if the plants are to live. Moved after the leaves are out when the hot suns of June have come and the reviving rains of spring have gone, they can hardly be expected to bloom and flourish. The best they can do is to struggle along against the odds of their first year and hope for a second spring to give them a new lease on life. [126 | fi t s G a r d e n Nurserymen, within the past few years, have lengthened some- what the spring planting season for a limited number of plants, by preparing pot-grown stock, which can withstand late moving better than field grown stock; vines, small shrubs, roses, peren- nials, and a few evergreens are included in this lst. ‘They are valuable chiefly as “fillers-in,” to be used where unsightly holes must be concealed; although their root systems are more or less prepared for transplanting, they are subject to the same difficulty in establishing themselves against adverse atmospheric conditions, such as hot suns and little rain, as field grown plants. Perennials planted in the spring will be later in flowering, other conditions being equal, than those which get their start the fall before; and some early flowering ones such as peonies, trilliums, and mertensia will not flower at all for a year if they are moved in the spring. Seeds of annuals and bedding plants are sown in spring in the open ground, or, if one wishes to get them into bloom earlier, they may be started in the house during February and transplanted into the open as soon as danger from frost is past. Gladiolas, cannas, and dahlias should be planted outdoors about the end of May, when the earth has “warmed up” a bit, and frosts are over. Bulbs, which are to be replaced after their flowering season by annuals or bedding plants, must be allowed to ripen, that is, left until the leaves die down, before they are removed. Such bulbs, of course, may be saved and replanted the following fall. Times and seasons for pruning vary with different plants and [127] T +h. e OM ID 2 Pl oe 40:6 Se Ae with the results one wishes to produce. All deciduous shrubs and trees should be pruned at transplanting, because the root system is reduced in the process of moving, and the evaporating surface of leaves and branches should be cut down correspondingly. The extent of this pruning depends upon the amount of damage done to the root system, but it is advisable to cut back deciduous shrubs at least half, upon transplanting, and trees to about one-fourth of the last year’s growth. Evergreens, which are usually moved with a ball of earth and which have in consequence better pre- served root systems, require to be pruned sparingly, or not at all. Cedars and retinosporas may have the greater part of the last season’s growth removed, most broad-leaved evergreens will flour- ish without pruning, and if one wishes to induce the pines to a bushier habit of growth, the central one of the terminal buds may be pinched out. ‘This means that instead of growing greatly in length, the branches will develop their side buds and become thicker. Beyond this pruning at transplanting time, shrubs and trees should be allowed to develop normally with no restraint from the pruning shears except an occasional thinning out of dead wood. The custom of annual pruning of flowering shrubs when every bush is gone over and chopped back to a uniform height or round- ness is a very pernicious one. It is of no benefit at all to the plant, it destroys the natural and beautiful form of the shrub, and reduces it to an ugly, heavy mass. When the shrubs once have a good start they should be left to their own devices, except for the removal of broken branches or old worn out ones. Pruning of [128 | I t ‘ G a r d € n this sort should be done, for early flowering shrubs such as lilac, mock orange, bridal wreath, and golden bell, just after the flower- ing season is over. These shrubs flower on wood which was de- veloped the season before, and if they are cut back in the winter or early spring, it follows that the flowering branches may be lost; whereas if they are cut in the early summer, the shrub has time to develop new wood and new flower buds before fall. Late flowering shrubs, on the other hand, such as rose of sharon, hydrangea, and some of the spireas, may be pruned in the spring, because their flowers are produced on wood of the same season’s growth. Roses, although they are early flowering, should be pruned in the spring, as soon as the frost is out of the ground. With Hybrid Perpetuals, all the old wood, that is the wood which flowered last year, should be cut out and from three to six of the strongest shoots produced last year left. These should be cut back to within eight or twelve inches of the ground. Hybrid Teas, on the other hand, should be pruned somewhat less severely; with these the dead and weak shoots should be cut out, and the strongest shoots shortened from four to six inches. The tall shoots of Ram- bler or Climbing roses may be cut back and the dead branches cut out. If the plants are thin and straggly they may be greatly bene- fited by shearing back to either three or four inches of the base. Almost all roses are grafted, and very frequently the bush sends up “suckers” from below the graft, which absorb all the nourish- ment of the plant. ‘These shoots should be removed as soon as they appear, and they may be identified by the fact that they have, [129] T he Wea 1 00 = ee 1G he = GUT Mena 2 as a rule, from seven to nine leaflets, whereas the budded stock has usually but five. ! Hedges and plants trained to a formal shape need to be cut several times during the season rather than just once in spring. A spring pruning stimulates them into sending up a lot of little shoots which leave the plant with a more or less ragged appearance for the summer, and these shoots need to be cut back two or three times during the season, depending upon the rapidity of growth. The pruning of fruit trees is a science about which it is dan- gerous to generalize. Each tree, bush, and vine needs careful, individual treatment, because the fruit is not borne the same way on all of them, and for a thorough and reliable treatise on the sub- ject of pruning fruit trees there is no better authority than Mr. Liberty Hyde Bailey’s ‘Pruning Book.” The matter is here taken up in all its branches, and in a sufficiently popular way to be understandable by the layman who knows nothing about botany. [130] Garden Architecture Sr gr gt aye CHAP Re. Pay Ee GARDEN ARCHITECTURE veseg nals architectural features of the garden—its arbors, “e | +> gateways, fountains, and walls te opt sources of interest in themselves, but the means of com- are not only important pleting the garden, of rounding it out, and giving it a finished appearance. A path which leads one through a gate is ever so much pleasanter a way to take than one which has no such inviting barrier, and a vista which is terminated is more delight- ful than one which dwindles off with no object of interest to hold the eye at its end. Even the flowers for which a garden chiefly exists take on a charm and elusiveness they do not possess of them- selves, when they are glimpsed through the posts of the plainest grape arbor or seen through the frame of an arch. It is a certain pictorial quality which good architecture contributes to the gar- den and which flowers and shrubs alone lack, as well as an inter- esting human note introduced by it, that make it an important consideration in planning a garden. Such intangible benefits are not easily explained to the man or woman who has no interest in architecture itself, but the many photographs in this chapter will express in more concrete form, I hope, the value of good architectural detail in the garden. [133] J Uu h c I4YIAP advospuv'yT ‘siayjoig PAIsuUTC, “sjIa]1y 947 ‘OHIPIQ pue sJ9ypV AQ puvjsy buoy ‘uoydueyinog yo ‘SI9S0Y “H YH “py fo Spunosry NVA G a Vi Nel esa wa Nl. aH Sa 19.104 BNW A WS Vo Hi) ty IN [134] I t G G a r d e n The photographs of two gates at Forest Hills illustrate how pleasing an ordinary dooryard walk may be made, by some form of gateway to mark its departure from the road, and the gates themselves are harmonious details in the general scheme of English cottage architecture. The very original gateway to the Pomeroy place opens into a lane of lilacs that has almost the effect of pleaching. With an entrance made as attractive as this for introduction, the newcomer is prepared to be pleased with the entire place. Both sides of Mrs. Hill’s garden doorway at Easthampton are equally charming.’ The whole wall, in fact, has a delightfully spontaneous quality in its design—an unstudied simplicity which professional work is apt to lose to technique. ‘The use of rough surfaced concrete for the wall is very good and surprisingly inter- esting, for as a rule concrete without brick or tile or some other contrasting material to relieve its deadness is very unattractive. The breaks in line, together with the rough surface, the thatched house and the pergola, combine to give the wall variety and inter- est. Incidentally there is a kind of fundamental fitness about this wall—it is apparently, as well as actually, a part of the low sand hills of the coast-land round about “the Hamptons.” A happy combination of materials, as well as charm of design, is illustrated in the wall and gateway of ‘“‘Huntland,” where brick posts and a molded brick cap furnish a contrast to the stucco sur- face. A similar office is performed by the stone coigns and cap of the gateway at the Winthrop place. 1See the group of illustrations at the end of this chapter. (res) l OO / i§ AN OR Die PATH END eS tEINGG KES ACY “NV EI sieC EE Vie ACT Ew zee ©, INPACRSY Forest Hills Gardens, Forest Hills, Long Island ™— © % a = S ~ ~ {rm oOo oO a laa) ae ¢ fe) 1d p) — = — Ae Pl EAS PNG Gate AT PORES T HILLs Grosvenor Atterbury, Architect [137] PG A EO. OUR GaN CAGE aD bis iG IN Flouse of Mr. Daniel E. Pomeroy, at Englewood, New Jersey. Aymar Embury I], Architect [138] i ij i G a . d e n The use of a combination of materials, except in the case of stone which very often contains enough variety in itself to give an interesting surface, usually results in a better looking wall than one built of a single materral. Especially is this true of brick, the use of which can easily be overdone. ‘Too much brick gives the garden a sombre and oppressive appearance which is simple to enliven by a contrast in materials. Cement, slate, marble, flag- stone—all these are valuable in this respect, and any one of them used in conjunction with brick makes it twice as interesting. Sometimes a wood trellis applied to a wall is the means of in- creasing its interest. ‘his is the case with the high wall at Anda- lusia, Pennsylvania, where the architects have devised a very clever and delightful treatment of the garden side of a building so high that it would have been painfully stupid without some surface treatment. A quite different use of wood with masonry is that of the cedar poles and stone piers on the Edgar place at Greenwich; and still a third sort, a cross between wall and fence, is that in Mrs. Harry Payne Whitney’s garden, where chestnut pailings between brick piers mark the boundary. Some such compromise between wall and fence is almost the only way in which a wood fence can be made to perform the offices of a high wall, because for structural reasons as well as for those of good appearance fences do not lend themselves well to high treatment. For lower boundaries wood fences are both useful and attrac- tive, and the two sorts in common use in this country may almost [139] TE wi wre i OG. ont awe Ti 0. Wes Fe be called indigenous because of their early prevalence. One is the white picket fence found around every New England door- yard garden, and the other is the rail fence, which 1s equally com- mon in country districts. The first kind still holds all its charm for the village type of house, and through some of the Southern States it finds a more extended use where it surrounds the house garden completely, and divides it from the farm land on which cattle are allowed to graze. There is no more practical and interesting way of marking off farm acres to-day than by means of the old rail fence. These fences, together with the rough stone walls of early farms, should be regarded as traditions given us by our pioneer forefathers, worth continuing. On the prairies of the Middle West, hedges of buckthorn and osage orange naturally supplant to a great ex- tent the customary boundaries of stony New England—the use of all these natural materials is much to be commended, and the unpicturesque and no more practical fencing of concrete posts with wire between discouraged. Fences of wrought iron, and more especially gates of iron, may be very beautiful and interesting. They are likely to be formal in character, however, and their use in country work is limited by this factor as well as by that of their expense. Gateways, such as one frequently sees at the entrance to a place, which are free standing, and not part of any wall, should be tied into the landscape by heavy planting. They have very often a lost, unconnected air which is only to be overcome by weighting down, so to speak, their extremities with strong planting. This is [140] d ae SJIAJIYIAP Us ‘SPUUOYU T, “G UOS[IAA ‘Apoqeag ‘viuihsl 4 ‘BiInqa{pplpy 1P MOG N dVO MOTUYA GHGAIOW ANV Eee TN I Oe) OtsS al aN Oey ay YUNISVA Td ‘| 4p fo avis | ‘puvjunzy,, Vv [141 SIMPLE: ROSE ARCHES OF VERY A GATEWAY AND ARBOR AT GOOD DESIGN HAMILTON FARM Garden of Miss Emily Slade at Windsor, Estate of James Cox Brady, Gladstone, Vermont. Charles A. Platt, Architect New Jersey. Ruth Dean, Architect true of any free-standing wall or fence. If it does not grow out of a building or end against one, its terminations must be con- cealed by planting. Such a piece of wall is well taken care of on the Schiff place, where evergreens and sturdy shrubs make it part of its surroundings. The same criticism of loose ends is to be made of a great many arbors and pergolas. An arbor should begin at some expected and natural place and end in the same way: should lead from one spot to another, and not be just set down in the midst of things. An interesting arbor is that on the grounds of Mr. Jonathan God- frey where the arbor is in effect part of a wall. The beams run [142] WR Hew’ 27 Pa RGOLAW LPH. VALUABLE Po aN EN GS Pac Ee ATi) SuBAS E Garden of Mr. Jonathan Godfrey, at Bridgeport, Connecticut Marian C. Coffin, Landscape Architect; F. Burrall Hoffman, Architect [143] (GTS i Ee i ae Hi <@ aw Fe from a row of columns to piers which are extensions of the wall, and which leave pleasing window-like openings in the upper part of the wall. One of the unexpected sources of success in this per- gola is the planting space at the foot of the wall; with no room left in which to plant a friendly vine the arbor would be without half its charm. Another good combination of wall and pergola is the pergola gate in the rose garden on the Walton estate at St. Davids. Ma- terials, as well as good design, are responsible for much of its interest; the round columns of stone roughly plastered have a pleasant, careless charm which ts increased by the use of broken flag walks. Of all the means whereby walls may be made interesting, prob- ably the most effective is the wall fountain. ‘There is some- thing very enticing about the smallest drip of water with green shiny leaves around it, and the simplest device in the way of a dolphin’s head that spurts its little stream into a shell, catches and holds our interest above any other fea- ture in the garden. A plain wall fountain com- bined with a pool is that on the A FAUN J. C. Kraus, Stoneworker Rogers’ place at Tuxedo. The [144] 7a ag &..: WUNU Whe ois a DEE Gin? Pw Opa xR DEN hou Ss & Designed by Samuel MacIntyre in 7799 on the Osborn Estate at Peabody, Massachusetts [145] 90 Ie Leo a yb: ke TI=O. HE PSE pool lies at the foot of a high terrace wall, and is fed through a mask by a stream. Here again a strictly architectural feature of the garden owes much of its interest, its intimate personal quality to the planting about it. A more elaborate wall fountain is that at “Brookside,” of which Mr. Rondoni is the sculptor. It is de- lightful in conception and the figures of the two fauns and the mask are very amusing indeed. Garden houses, like walls, should conform to the style of archi- tecture of the main house, for the garden and whatever pertains to it ought to be part of an homogeneous whole; one should be able to pass easily from house to garden and from garden to house, feeling that each belongs to the other; and one of the surest ways of accomplishing this spirit of coherence is uniformity of design and correlation of material in all the architectural features of the garden. Garden architecture, to be-sure, need not be so dignified as that of the house; it admits of more freedom and play- fulness in its treatment than does the more important architecture of the house, but the same general style should be adhered to throughout. The practice of this principle automatically rules out the Japa- nese garden transplanted to our Western surroundings; like most exotics, its fault is that it fails to fit in our civilization and tradi- tions of art, and it must always occupy the position of a curiosity. An Eastern garden is full of symbolism which is lost to the un- trained Western mind, and it is no more feasible to graft this art on our traditions of garden design than it is to introduce Japanese manners, costumes, and religion. [146] I j ‘ G a r d € 11 The anomaly of an Italian garden in conjunction with a so- called colonial house—or a garden distinctively French in char- acter, with a house of easy informal English design—is less Nn flagrant, though equally to be avoided. ‘The best features of al- most any style offer enough good things from which to choose, so that one need not be driven to the resources of another style for variety. Of garden furniture there is very little of stock design which is good. Stone workers have done a great deal better for us than A USUAL FIGURE WHICH IS A FINE REPRODUCTION OF VERY PLEASING A NEO-GRCECQUE PHILOSOPHER FE. Lucchesi, Stoneacorker J. C. Kraus, Stoneworker [147] ES eee oe ae El 6-0 ie 5 re wood craftsmen; and the cast stone benches and tables which may be obtained offer good adapta- tions of classic designs. But there is little wood garden furniture, except that done to special de- sign, which is even passable. Good garden figures are almost as scarce as good wooden furniture; but occasionally one finds something that it not the stereotyped “boy with fish,’ or Hebe, or Diana. Cast iron reindeer gave us a great set-back in our appreci- ation of garden ornaments; for many people, still under the’ influence sot the: “very proper reaction against this sort of garden “adornment,” refuse to have any “statuary” ered ae A GOOD TERMI at all about their grounds. NAL FIGURE Pe FOR PATH Chis is unfortunate, because there is no doubt about the fact that a few figures carefully chosen con- tribute a lot of interest and life to. the garden, It is pleasant to come on a faun laughing out of the leaves at one, or the wise old smile of a philosopher, or the pagan grin of a grotesque. And amusing in much the same way are the ANOTHER TER- lead figures, used so often in English gardens; “MINS BIGUE® FOR PATH [148] 7] = Pe, 5. 2 bs ae ‘ bf poiswO SJIIJIYIAP ‘SHJasnyIVssD Ay ‘oyepuinqny agvIspuv'yT ‘pleqqnyy ° ‘sTOYIOIG M S89teyo ASOOH Na aduvyo V 4yy fo spunosb ayy uC [149] T kh e jo. 37 a Oe eee H oO a 522 shepherds and shepherdesses, amorini and grotesques. Lead is a very agreeable ma- terial for garden figures, and it is regret- table that no one is manufacturing them in this country to-day. A few dealers import lead work from England, and now and then an old figure strays into the country, but for A FRUIT BASKET FOR A GARDEN GATE POST the most part the use of this material for J..C. Kraus, Stoneworker garden work is very limited. Good sun-dials of the “made in America” kind are also few and far between. For the most part our stock sun-dials consist of Doric columns of very doubtful proportions, or of a single heavy baluster supporting a plaque on which the dial face rests. Very. little ingenuity and good taste seems to have been exercised in their designs, and—I admit it reluctantly—we have almost no dials to compare in interest with hundreds to be found in England. I am not going to excuse the scarcity of good design in garden furniture and accessories on the basis of the youth of this country, or its hustling interest in business, or its lack of a leisure class. These are the customary and time-worn excuses for almost every artistic defect we possess. We have the best architects in the world to-day, and we have able manufacturers and good designers of furniture for interiors. Among the three we ought to produce garden furniture which is as good in design as that of any other country, and which will be a real factor in making the gardens livable. [150] a ae ee IH'H (O Weqoy ‘SAAT Ag paubisogd e - aha Ord Fo : fa S YW AO N , = ‘puvjsy buoy ‘uoydueyseq 7p” Cd WORE eh N I POV NS DOO Gl Rr Dil Cap us ed 9 poapiyospy advaspuvy TH D Mogoy sy puvysy buoy uojydueyysey OE SOING Gi @ hc air, ee WSO. NY Geb yO ae ie el OO da aes eee ee [152] 11 e puvjsy buoy ‘uoidweylsey IY TTIET “O woqoy ‘sty {O uapavey of iid wo IN OOD Oliv A WOOD ATI EV OS fi N Cy NY Lrs3.] (A |; Wy Sole) eV ONE © Ord Ga NOOO Sear Aaa ale A ee Sele el JIPJIYIAV JWelq ‘UDOIYIITT ‘MBUIBES Jv ‘BUI "JT (OQ 4p fo uapsvb ayy uz 4] 15 nN e a poaplyoa4py advospuv'T ‘UJOD “D ueleyA, “Joaztyo4py ‘ueWZOPT [[eling “4 JnI1JIIUUO’) Yaodaspug jv ‘Aaijposyy uvyieuo{ “apy fo spunosh ayy uc HON Y ab N a NAGwy DD. doo). Vv russ e ‘YOUppy pue ourjaq “puvjsy buoy ‘yassokg jy ‘doryiwutA, uosuosg ‘Ay f{O spunosyy TEPVN Ant OBO Wa a) SNP Vv lds Geren Pe tev di NOOO GOOD VY WwOd dv GNYV -SN- Ono Ordo 1s [156] (EZ ‘T]9PUS AA puUe siIvaC > IVI dae hy WA i sh, ef : be eo a &, Be + hs ti ae . SJIAJTY IAP agvIspuv'T ‘DIUDALASUUIT ‘SPIALG "3G 1D “bs ‘uOIeAX “S ‘CQ fo uapuvy NOISHd AGNV ONS al tad No Or a ey 2) VY PO a aed [157] ae fre es ‘ AP Chi Ua eat he Ve A-WALGL-OF REEIN ED, Debs (GN Garden of Mrs. E. 8. Clark, Pomfret, Connecticut Charles A. Platt, Architect [158] [ t b; G a r d € 11 AEG Ae Ors fOr Ss LMP iLike DIGNITF FED DAES LG IN Estate of Mr. Willard Straight, at Westbury, Long Island A. F. Brinckerhoff, Landscape Architect [159] Se ‘Ml > aN \s 4 , ee a x pre, : ACE EVER PRED S- 2 RE Aw Vir N ae Oo ASE EGE WAL ka In the garden of Mr. Charles Biddle, at Andalusia, Pennsylvania. Mellor and Meigs, Architects [ 160 | — ™. oo ep) a r d € me NENW SOA LY GOOD BIT OF oR oe. WOR K” Garden of Mrs. J. Clifton Edgar, at Greenwich, Connecticut Marian C. Coffin, Landscape Architect [161 | A FENCE.OF CHES NUL PA Lae eG BETWEEN BRICK PLERS Garden of Mrs. Harry Payne Whitney, Westbury, Leng Island. Delano and Aldrich, drchitects [162] Ln) SSS in| z =| ii. i (ss eth PEE Prete? FENCE OF A POOR YAR DG AR DEN House of Mrs. Harrison Sanford, at Litchfield, Connecticut Restored by Mr. Aymar Embury II, Architect [163] (A u e h; JIPPY ING agGvISpuv'yT AE OOS Tk) ela] sou [ puvjsy buoy ‘Keg 1038hQ 3M ‘WIyOS “T IOWIIOP, “py fo spunosbh ay} uy levi) -SONTEGENGY Ai Se ce WOT HS ae We Sas el OO sees [164] 1) (& yIny joaziyoapy advaspuvyT ‘ueaq ‘puvjsy buoy ‘peaysdwoay yy ‘projypnyyy atuuey ssepy fo Sa ci ee yO: a LN) a, 2 UI PADE) Lore LV [165] a U e h % es. Sbims Kassap many ‘snyoyoy, 4vau peoy snturieg 247 uC Na Gedy 2D) SEO ava GeO Nay [166] GAZ BEBO Fa shiek ROY AL Ly AOU At N LS Tedford, Massachusetts [167] AN AMUSING WALLET FOUN]Z AEN At “Brookside,” Estate of Mr. William Hall Walker, Great Barrington, Massachusetts. Ferrucio Vitale, ~ Landscape Architect [168] Werle OUIN Ff ATIN: (C:0 MB INE. D Wal hy POLO: Garden of Mr. H. H. Rogers, at Tuxedo, New York Walker and Gillette, Architects [169] Th er > eae G8 Dae ee 07a s 1s) eae Copyr ght, 1913, by Frank Cousins A “GARDEN ENTRANCE FOR VW EO Cx RM AGE TS RES PONe Le ia House at SO Federal Street, Salem, Massachusetts Samuel McIntyre, Architect, 1782 [170] 71 é puvyjsy huoT ‘yoiduwe yisey mY ‘ITH (OD Weqoy “spy fo uapavh ay} uy Ol AO Ch oy [178] Lee § Ane dob ne we Hl” “omy -s5°24e UGE TRO UN) 1 AUN dias Ran AIND BRACKET At Forest Hills Gardens, Forest Hills, Long Island Grosvenor Atterbury, Designer DW R®) 172) BEN CEES OP EN TEREST ING Digs EG N BAC KE. D UCP BY RE ees Ralph Adams Cram, Architect [173] | ieee eee aes: a bP ale Al. ow se * a : sain A REPRODUCTION OF NOE RENAISS AN Ch URN At Hamilton Farm, Gladstone, New Jersey. Ruth Dean, Landscape Architect; J. C. Kraus, Stoneworker [174] D i } ereaee i . Px hg | i , * =) a7: 4 ae ) Mie a Ui