ce a as een aia ARCH LIBRARY set ee ee Hdl Presented to The Library of the University of Toronto by frank Darling, LL.D., F.R.F.B.0., W’W.C.A, GARDENS OLD-& NEW “& ITS GARDEN” ENVIRONMENT ON THE ORANGERY TERRACE AT MARGAM PARK, ~GARDENS OLD6NEW THE COUNTRY HOUSE &r ITS GARDEN ENVIRONMENT THE SECOND VOLUME ILLUSTRATED FROM PHOTOGRAPHS BY CHARLES LATHAM. LON DON PUBLISHED AT THE OFFICES OF COUNTRY LIFE § 2O0TAVISTOCK STREET COVENT GARDEN % % GEORGE NEWNES LIMITED 7-12 SOUTHAMPTON STREET STRAND NEW YORK: CHARLES SCRIBNER’S SONS rts sa or Sb. : http://(www.archive.org/details A gecroft Hall, Manchester . : : 221 Albury Park, Surrey. F : pageeD.2.41 cAldenham House, Herts. : : ; 113 Amesbury Abbey, Wilts. ; ; : 126 ‘Balcarres, Fifeshire > z ; Be eee > Barncluith, Lanarkshire : { * 216 ‘Barrow Court, Somerset . : : 182 Borde Hill, Sussex ; ‘ P 4) MXXIX: Brokenhurst Fark, Hants ; J ‘ 14 Castle Ashby, Northants : : : XV. Chastleton House, Oxon. : : ; 130 Chirk Castle, Denbighshire. ; : 101 Chiswick House, Middlesex XXXI., XXXVIII. Compton Wynyates, Warwick ; ; 119 Cranborne Manor House, Dorset . : 135 ‘Danby Hall, Yorkshire : : Nise, ol 8 ‘Drakelowe Hall, Burton-on-Trent . ; 178 Drumlanrig Castle, Dumfriesshire : 150 ‘Drummond Castle, Perthshire . y I Easton Hall, Grantham, Lincs. : ; 105 Eaton Hall, Cheshire. J ; 203 Eydon Hall, Northamptonshire. : 71 Frogmore and Windsor : : 2 276 Fyfield Manor, Wilts. . ; : . XXIX. Grimston Park, Yorkshire A : 2 9 Groombridge Place, Kent XII., XIIl., 259 Gwydyr Castle, Denbighshire ‘ ; 29 Hackwood Park, Hants. F : miei od | Haddon Hall, Derbyshire : ; ; 45 Hadsor, Worcester : : : $ 282 X., XIV. XVI., XVII., XXX. Hampton Court, Leominster Hampton Court, Middlesex Harewood House, Yorks. : = . 105 Hartwell House, Aylesbury. : : 24 Oe Hewell Grange, ‘Redditch j ; Cape. delle Highnam Court, Glos. XX , XXI. Hoar Cross, Burton-on-Trent ; F 51 Holland House ; P : : i XLL Inwood House, Somerset Kedleston Hall, Derbyshire Kentwell Hall, Suffolk Leighton Hall, Welshpool Linton Park, Kent Littlecote Hall, Berks. Lochinch, Wigtownshire Longleat, Warminster “Mapperton House, Beaminster Margam Park, Glamorgan Marks Hall, Essex Melford Hall, Suffolk Mere Hall, Droitwich Moyns Park, Essex Munstead Wood, Godalming Newbattle Abbey, Midlothian Okeover Hall, Derbyshire Orchardleigh Park, Frome Orchards, Surrey Packwood House, Birmingham Pain’s Hill, Surrey Parham Park, Sussex Penshurst, Kent Pitchford Hall, Shropshire Powis Castile, Montgomery St. Fagan’s, Cardiff Sedgwick Park, rorsham Shrublands Park, Ipswich Smithills Hall, Lanes. Stoke Edith Park. Hereford Stoke Park, Slough Stoke “Rochford, Grantham The V-yne, Hants. Westwood Park, ‘Droitwich Wickham Court, Kent Wilton House, Wilts. Woodside, Herts. PAGE XXX., XXXIV. XXXV. IgI 232 XIX. 248 XXXVI. 171 152 Frontispiece . 93 . XXXVI. i 143 197 39 208 XXXII. 35 97 : 58 XLIV., XLV. 147 XXXIII. 89 64 239 83 269 255 XVIII. XLII, : 187 XXIII., XXVIII. 226 ; 161 XXIV., XXV. 213 aT “mM i flores \\ HE gardens illustrated in the following pages are the types and. exemplars of every class of English gardenage, though it may be observed that the formal character is chiefly exemplified in them, because, indeed, in various developments it largely prevails, They disclose a view of much that the greatest workers in our garden development have accomplished—most of them inspired to their task by traditional methods and the inherited love for the things that are old, a few influenced by later views, which greatly affected the character of garden plan and design, all glorying in the supreme beauty of the multitudes of flowers now in cultivation, and some kindled to their achievement by the enthusiasm of individual taste. In these days the love of gardening and interest in its history and character grow from more to more, and we cannot live anywhere without finding intelligent understanding and appreciation of the many various forms of garden beauty. The great gardens of England are taken as patterns in other lands, and among ourselves are regarded as sources of = br. NUTNC AEA re a i Bomuns.;. Sue uivanw. J inspiration in any garden plan. Not every man can have a pleasaunce to his mind, but there are few who, in the glorious examples of our gardenage, cannot find some feature or suggestion for their need. The conflict of ideas which has arisen in regard to the higher character of garden design, giving rise to a considerable volume of polemical literature, is n itself an encouraging sign, because it shows how real is the interest felt in the garden and how zealous the quest for knowledge of its right character and its many beauties. The controversy is not new, for did not Martial, in the garden of Lucullus, express his preference for the untamed beauties of Nature over the results of the custem which then prevailed of placing tonsile box trees amid the groves of myrtles and planes? The more modern controversy shows how far we are from the days in which to most people the garden was merely a place wherein flowers and bushes. indiscriminately grew. There has sprung up a craving for order and plan, and a demand that the garden shall stand in much closer relation to the house it adorns than was at one time thought GUARDIANS OF AN OLD STAIRWAY. GARDEN vs GARDENS OLD AND NEW. a Hedzoy § Kean THE GREAT YEW ARCH, essential, with a truer understanding of the manner in which fl:wers shall be cultivated, holding their large piace in the garden design. The older dweller in these islands, like the modern, loved his garden well. It was a place for quiet and retirement, and for the welcoming of friends and their diversion, a place beloved for its shady alleys in the hot days of summer, for the delectable freshness of the evening air on the terrace, and for the pleasute of the green lawns where the English- man sped his well-turned bowls. In the pages of Shakespeare several garden scenes occur. There is that in ‘‘ Richard Il.,’’ in which the ladies would dance, or tell tales, or sing, and where the bowls were sped, reminding the Queen how often Fortune ‘‘ runs ’gainst the bias.’’” It was an ordered realm, extolled by ‘‘old Adam’s likeness,’’ the gardener, in contrast with the larger disordered commonwealth. In such pleasaunces men lived much, and it is delightful to find them, sometimes, like Lindsay of Edzell in his viridarium, even transacting affairs of weight there. The garden is, indeed, a place where, in gay delight or pensive meditation, the days may well pass profitably if unnumbered. In the Introduction to the first series of ‘‘ Gardens Old and New” some account was given of the successive phases of the gardener’s art, and, after a more brief view of that interesting subject, it may be suitable here to develop a little more fully certain special characteristics therein dealt with, and to speak. of. some special garden features described in writings of the past and exemplitied in gardens of the present. It was suggested that while some look upon the garden as an extension of the house into its surroundings, others have regarded it in approach of wild Nature to their dwelling- places. What may certainly be said is that neither house nor garden can be complete in itself, each being the complement of the other. A f rmality of character is doubtless from this relationship, and history shows that engend some constancy of features in this formality has existed in widely different ages. The Tuscan gardens of Pliny the HAMPTON COURT, LEOMINSTER. Younger were instanced, indeed, as presenting a remarkable similarity to the old Scottish gardens which Sir Walter Scott described at Tully Veolan. But there is another ruling condition which affects the character of any garden—the situation in which it lies, for manifestly what is suitable to the steep hillside cannot altogether befit the plain. There is, moreover, always a seeking for some distinctive character or feature in any garden, and, if it be found in the strictly formal, it may be discovered also in those adornments which were added to the natural gardens of a hundred years ago. The truth is that no class of gardening can remain under the ban. Each is good in itself, and each may in some degree borrow from the other. While we welcome the beautiful effects that are attained by aiming at natural character, let us not deride the fine tall yew and hornbeam hedges or the mossy terraces upon the steeps, and let us remember that essentially it is no worse to clip a tree than to mow a lawn—that, as was said in the last series, the difference is in degree and not in kind—that all gardening is ina measure formal, and that only extravagance is to be condemned. At such extravagance Pope raised many a laugh, and Rousseau did many times sneer. There were gardens like the famous one at Moor Park, near Farnham, in which the old formality existed without extravagance. The pleached alleys of such places still survive here and there, and the ‘‘ cradel walk ’’—Queen Mary’s Bower—at Hampton Court, and the examples at Drayton House, Northamptonshire, and at Melbourne in Derbyshire, are illustrations of what the older Englishmen loved. How they introduced quaint topiary features may be seen in many famous gardens, while fine hedges exist all through England. The pergola, also, though not essentially related to formal gardens, had often its place in them, and many beautiful examples of such garden features are illustrated in this work. The moral sundia!, again, belongs to the old formal garden, though it has been borrowed and used- well in pleasaunces of every kind. There are excellent examples in old Scottish gardens, INTRODUCTION. xt. and very many in England also, and here and there, as at Broughton Castle, Banbury, pretty devices and quaint conceits like that recorded by Andrew Marvell, the dial made out of herbs and flowers. The old enclosed garden ceased to give content in times when men had learned to look more abroad, and, under the influence of Italy and France, a larger style came in. The great master was Le Notre, creator of the famous gardens at Versailles, Chantilly, Saint Cloud, and Meudon. William III. was chiefly instrumental in popularising the style of Le Notre in England in his great example of the radiating avenues at Hampton Court. But obviously such a character can only be given to gardens upon a great scale, and there are illustrations at Melbourne, Castle Howard, and some of our greater seats of fine work in this grand manner. The stately avenue was often Sassociated, as at Hampton Court, with the still canal, and to the same period belong some other charming features—the leaden statues and the gates and clairvoyées of hammered iron. Pecularly pleasant in a garden is the hue assumed by old lead, and fine examples of statuary in this material exist still in many places. Lovely iron gates are found at many great seats, and notably, perhaps, at Drayton House, Compton Beauchamp, Ragley, Stoneleigh, and Belton. To such special garden features, however, we shall recur later on. There was a rapid reaction from the grandiose style, and Pope and his friends liked better the simpler work of Nature’s hand, although the poet had himself a garden full of arti- ficiality. The discovery of the ‘‘ha-ha’’ or sunk fence seemed to Horace Walpole a capital stroke. Kent was the genius who produced and utilised the device. ‘‘ He leaped to the fence and saw that all Nature was a garden.’’ Working, we are told, like a painter in the materials of light and shade, he accomplished triumphs which lifted him immediately to a great position as a garden designer, and ‘‘ Capability’? Brown followed in his footsteps. Kent became famous from his work at Esher and Claremont, at Rousham and .Chiswick, while Brown achieved his greatest fame at Blenheim, and raised a crowd of followers, who worked with weaker hands in his manner, and destroyed many things which it would have been well to preserve. The special style of landscape gardening which Kent had made popular was developed chiefly in England, but. it took great root on the Continent, where pleasure grounds in this manner became known as English gardens. A Bourbon spy in Paris, in the year 1803, recounted to his master in exile the details of Bonaparte’s famous tour after the outbreak of war, in which he visited Normandy. Entering the district of Caux, the celebrated Chaptal directed his attention to the smiling country thereabout, the richness of the soil, the fine houses, and the ‘‘ English gardens,’’ which Nature herself had every- where created. ‘‘ What do you mean by ‘English gardens’ ? ”’ brusquely demanded the First Consul. ‘‘Do you not know that this style came to us from China, and was perfected in France, and that only a bad Frenchman could honour England as you do?’’ Bonaparte went on to declare that ‘‘ Jardins Frangais’’ was the right designation for such places, and told Chaptal that the expression ‘‘English garden’’ should never again offend his ears. Whereupon, says the gossip, the poor Minister, disconcerted, saw that he had spoken foolishly, and promised in the future to think nothing fine that came from England, and, above all, never to attribute to that island what the First Consul approved. Nevertheless, the landscape garden was really an English creation, and as such has a claim to our regard. There had been presages of its coming among us, and it may be suitable to quote what Milton says of the Garden of Eden in the fourth book of ‘‘ Paradise Lost,’’ where Satan reaches the border : ** Of Eden, where delicious Paradise, Now nearer, crowns with her inclosure green, As with a rural mound, the champain head Of a steep wilderness, whose hairy sides With thicket overgrown, grotesque and wild, Access denied; and over head up-grew Insuperable height of loftiest shade, Cedar, and pine, and fir, and branching palm, A sylvan scene; and, as the ranks ascend Shade above shade, a woody theatre Of stateliest view. Yet higher than their tops The verd’rous wall of Paradise up-sprung. THE GARDEN OF BOX AT BALCARRES. GARDENS OLD AND. NEW, THE WESTERN LAWN AT GROOMBRIDGE, KENT. ‘ADACINEWOOND LV qFOVANAL < ~ ~ SS ™/ C)j A, ~ lan Ss ~ add ~ rad ~ ‘In this pleasant soil His far more pleasant garden God ordain’d. t shades nt, and fed snots, but Nature boon e on hill, and dale, and plain, iorning sun first warmly smote The o} € nd where the unpiere’d shade Imbrown’d the noontide bow’rs; thus was this place A happy rural seat of various view. « Another side, umbrageous grots and caves Of cool recess, o’er which the mantling vine Lays forth her purple grape, and gently creeps Luxuriant; meanwhile murm’ring waters fall Down the slope hills, dispers’d, or in a lake, That to the fringed bank with myrtle crown’d Her crystal mirror holds, unite their streams.” The landscape garden did not altogether satisfy, and, as we shall show, by its very nature, in its extreme form, never could. The effort to simulate natural beauties, to make en i ili} i A WAYSIDE COTTAGE NEAR the garden a landscape chiefly, often featureless, and to remove visible boundaries when boundaries were necessarily looked for, seems to have been:regarded as the ideal by some of the followers of Brown, and notably by Repton. But there followed a certain recoil from the new manner, which, growing stronger, induced Englishmen again to study more closely the older manner of garden design, while retaining all that they could of the beauties of the new. It may be suitable here to quote what was said in the Introduction to the first series of this work by pointing out some of the characteristic beauties of the garden as it is now conceived. ‘Fortunate is he who looks out from his terrace with its mossy parapet, where the peacock, perchance, shakes out its purple glories to such a world of hisown. Roses are clustering on the wall, or flinging out their fragrance below in the sun, mingled with the rare perfum: e aromatic azalea. Along the edge of the lawn his flower border is glorious with the queenly lily, the dark blue monk’s-hood, the tall hollyhock, the spiked veronica, the red lychnis, radiant phloxes, proud pzonies, 10 GARDENS OLD AND NEW. the tall spires of foxgloves and larkspurs, and a multitude of fair denizens of the parterre. Richness characterises the whole, and the sentinel yews, the hedges, and box edgings are there to give order and distinction with the right degree of formality that belongs to the structure that is adorned. The moral sundial, the splashing fountain, the sheltered arbour, and the fragrant pergola, all have their places in such a garden. Nor need the landscape and the woodland with the lake be contemned. These lie outside the enclosed gardens, and all are beautiful and entrancing in their degree and place. The final fact is simple, after all, and the gardener must make it his own. It is that the house and the garden are the two parts of a single whole, and happy is he who can best interpret their sweet relationship.”’ With such a broad mind let the reader examine the beautiful pictures that are presented to him in this volume. They are the story of much excellent endeavour in garden design, and the visible presentment of many triumphs. We believe that a survey of their character will lead many to accept the type of garden that has just been suggested. Many HAMPTON COURT, LSOMINSTER. of its charms must indeed be sought in a pleasaunce that is ordered and possessed with some character of formality. To such a garden belongs the terrace, which, in a multitude of forms, has been adopted in all our gardens, and has been imported into every style; for it has been the effort of many to secure some variety of level, and at each break in the ground it has been found satisfying to the eye to raise some stronger mark or barrier than the mere edge of a short declivity. The garden architect and sculptor have here found their opportunity, and there are examples of their work in this volume that will appeal to very many. Let us now enquire a little more in detail into the character of those old pleasaunces of which we read in many books, premising that those who would pursue the subject further may do so with delight in the fascinating pages of Mr. A. F. Sieveking’s charming volume, ‘‘ The Praise of Gardens.’’ Reference has been made to the Tuscan villa of Pliny. Now, there was in that ancient pleasaunce a terrace embellished with figures and with a box hedge, beyond which CTION. }, INTRODU “KEGHSV ATLSVO ‘NdquvVD ‘IVWNOsA FHL “LYUNOD NOLdWVH ‘NdquYvVD GNOd AHL “LYUNOD NOLdWVH LV VO. SHL dO GNAd Vv eo Ba EQN) lh Mall ae 4 EB 7 oa TIEN GS oe EE So OE RE Pa RECS F3 GARDENS OLD AND NEW. YVil. THE GEOMETRICAL GARDEN, STOKE EDITH PARK, 1E EASTERN END OF THE. SOUTH TERRACE, STOKE EDITH PARK. INTRODUCTION. WIR: THE SECOND TERRACE, LINTON PARK. ex, GARDENS OLD’ AND NEW. wasa descent to vn suri d by a walk of cut evergreens. Beyond tl wn circus, such as has since existed in many nd fenced in by a box-covered wall. It was observable, as the younger Pliny wrote to Apollinaris, that up to this point Art had done everything, but that beyond vere meadows and fields interspersed with thickets owing beauties to Nature. Pliny had also a dining-room opening upon one end of a terrace, and looking out over the country, and there were other features which were precursors of that English garden which possessed the character that has been alluded to. It was a garden generally upon the plan of a parallelogram, often having several rectangular enclosures. Nine large complete squares or ‘‘knots’’ were -in the famous gardens at. Theobalds. e Gervase Markham, who added much to the well-known ‘‘ Maison Rustique’’ (1616), gave many shapes for gardens; they might be square, round, oval, or diamond-shaped, and he commended it as desirable fine banqueting-house in the garden of his mind. Four such houses were in the Countess of Bedford’s garden at Moor Park in Hertfordshire, two being at each end of the terrace walk, and two at the terminations of the arcades which ran out from the house to enclose a quadrangular space. Such enclosed gardens and garden-houses indicate that great use was made of the pleasaunce, and that men lived much therein. In the time of Louis XIV. the fashion spread greatly, and the French carried their houses, as it were, into their gardens, by building dining and drawing rooms in the open air, with salons, cabinets de verdure, and theatres amid the groves, where the masques of Moliere were many times enacted. It is obvious that in these garden structures the architect had rare opportunities, and perhaps no more choice examples of such work can be found in England than in the charming creations of Montacute. Bacon, having in view his terraces and houses, said of the THE SOUTH that gardens should rise in level above level, ‘‘ which is exceeding beautifull to the eie, and very beneficiall to your flowers and fruit trees, especially if such ascents have the benefit of the sun rising upon them.’’ The famous Palissy, the great French potter, who was also a gardener, regarded the rectangle as the right form for his pleasaunce, with an issue beyond it into a meadow. The garden was to be divided, as 1 many ex English gardens, into four equal parts by cross all h a little amphitheatre in the middle, and at each of the corners an arbour, and four others at the ends of the alleys. These arbours, refreshment-places, or banqueting- rooms, were common feature in the surroundings of old English houses, an e often extremely beautiful. B \ 1 rectangle, encompassed on all the four sides with a stately arched hedge, and a carpenter was called in to fashion pillars for its support, and many and curi¢ levices were added. Bacon also had a WALK, HIGHNAM. garden that it was ‘‘ best to be square,’’ and the famous John Thorpe made one design with the note that nothing should be ‘out of square.’’ John Parkinson, who produced his ‘‘ Paradisi in Sole Paradisus Terrestris’’ in 1629, remarked that, though the orbicular or round form had excellencies, he thought the four-square form the most usually accepted with all, since it did best agree with any man’s dwelling. ‘‘ To form it therefore with walks, cross the middle both ways, and round about it also with hedges, with squares, knots and trails, or any other work within the four-square parts, is according as every man’s conceit alloweth of it.’’ The Pond Garden, still existing at Hampton Court, which is illustrated, has been much a'tered, but has its original rectangular enclosure formed by low brick walls, in the corners of which are the bases of stone piers, which once supported heraldic beasts, carrying the King’s Arms. Perhaps this was the parterre called Paradise, with its banqueting-house, which attracted the notice XX1. INTROD®@CTION, “WYNHOIH ‘ONINYOW ATYVS—NMV1 JHL “AUNATV LY NAGYVD YALVM FHL W, NE D z at a 1) “ALOOYAOG GNV .YVO—dANAA K ap = MN C) ~ —~ Cy) S 4 ln — GARDENS OLD of John Evelyn. hus is one garden of the time described : “My garden sweet, enclosed with walles strong Iiubanked with benches to sytt and take iy rest, Phe kn so enknotted it cannot be exprest With arbors and alyes so pleasant and so dulce.” rhe great. garden of the’Countess of Bedford, which Sir William. Temple described so well, was one of the best old examples of the rectangular garden. Such square” parterres were often duplicated and. multiplied. They displayed the old spirit of enclosure, and gave unrivalled opportunities to the terrace builder and the garden hedger. The greatest possible contrast is found between such gardens as these and that imaginary garden which Addison describes in the Spectator. Ad- mitting that there were as many kinds of gardening as of poetry, he spoke of his own as a place which a_ skilful gardener would not know what to call. ‘‘It is a confusion of kitchen and parterre, orchard and flower garden, which. lie so mixt, and “interwoven, with one another, that if a foréigner who had seen nothing of our country should be convey’d into my garden at_ his: first landing, he would look upon it-as a natural wilderness, and one of the uncultivated parts of our country. Ba As for my self, you will find, by the account which | have already given you, that my compositions, in gardening are altogether after the Pindarick manner, and run into the beautifu: wildness of Nature, without affecting the nicer ele- gancies of Art.’? There can scarcely be a question as to which is the better garden of the two—that which is ordered and planned, or that which seems no garden at all. Some things Addison certainly advo- cated which are excellent. He would have had many ever- greens in the garden, and often wondered that those who were like himself, and loved to live in gardens, had never thought of contriving a winter garden, which should consist of. such trees only as never cast their leaves. That lesson has surely been learned, and in ‘all our great gardens evergreens, either in formal shape or in natural profusion, largely abound, so that in the winter-time the garden is neither cheerless nor bare, Doctor Johnson looked with some tolerance upon the landscape features of gardening, which had come in’ when he wrote. In his ‘‘ Life’ of Shenstone’’ he speaks’ of his ject’s delight in rural pleasure and*his ambition of. rural nce. We may suspect a little sense of humour where nderous doctor tells how the Arcadian poet began to prospects, to diversify his surface, ‘to entangle his Sie kebeave, 7 vt 7 ‘ h; ie vents ser Hudson. & Kearns valks, and to wind his waters. ‘‘ Whether to plant a walk in undulating curves, and to place a bench at every turn where there is an object to catch the view—to make water run where it will be heard, and to stagnate where it will be seen; to leave intervals where the eye will be pleased, 4 and to thicken the plantation where there is something THE ITALIAN COLUMN WITH LEAD FIGURE, WILTON. AND. NEW. to be hidden—demand any great powers of the mind | will not inquire. Perhaps a surly and sullen spectator may think such performances rather the sport than the business of human reason.’’? Yet Johnson saw merit in a man who was doing best what multitudes were contending to do well. In France, Rousseau in ‘‘ Julie’’ describes a garden that was unordered and unsymmetrical. There were rose bushes, raspberries, and gooseberries ; patches of lilac, hazels, alders, syringas, broom, and clover, which clothed the earth whilst giving it an appearance of being uncultured. He imagined that a rich man from Paris or London, becoming master of such a place, would bring with him an expensive architect to spoil Nature.- Pope’s objection to formality—though he had a formality of his own—has been referred to. He sneered at symmetry. ** Each alley has a brother, And half the garden just reflects the other.’ Walpole could see nothing in Kip’s ‘* Views of the Seats of the Nobility and Gentry ’’ but tiresome and returning uniformity—every house: approached by two or three gardens, consisting per- haps of a gravel walk and two grass plats or borders of flowers, each rising above the other by two or three steps, and as many walks and ter- races, and having so many iron, gates that he was re- minded of those ancient romances. in which every entrance was xzuarded by nymphs or dragons. We have seen that he greeted the ha-ha as the step to freedom, and Kent as the man who leapt the fence. ‘‘ Adieu to canals, circular basons, and cascades tumbling down marble steps, that last absurd magnificence of Italian and French builders. The forced elevation of cataracts was no more. The gentle stream was taught to serpentize seemingly at its pleasure, ani where discon- tinued by different levels, its course appeared to be cecn- cealed by thickets properly interspersed, and glittered again at a distance where it might be supposed naturally to arrive.’’ To Goldsmith, in that time when the old English gardening: was dispraised, it appeared that the English had not yet brought the art of gardening to the same perfection as the Chinese, though they had lately begun to imitate them, and were yet far behind in the charming art! Thomas Whately, whose “‘Observations on Modern Gardening’’ appeared in 1770, thought that the new art was- as superior ‘‘to landskip painting as a reality to a representation.’’ It was an exertion of fancy, a subject for taste, and all Nature was within its province. The art had started up from being mechanical to the rank of. the fine arts, which joined utility with pleasure. Repton, in his ‘‘ Sketches and Hints on Landscape Gardening,’’ 1794, seems best to have expressed the ideal of those who practised the art. The garden must display natural beauties and hide natural defects in every situation. It should give the appearance of extent and freedom, by INTRODUCTION, WILTON. THE ORANGERY, xXXUI. GARDENS OLD AND NEW. AN OLD GARDEN SEAT. carefully disguising or hiding the boundary. It must studiously conceal every interference of Art, however expen- sive, by which scenery is improved, making the whole appear the production of Nature only, and all objects of mere convenience or comfort, if incapable of being made ornamental, or of becoming proper parts of the general scenery, must be removed or concealed. It may appear to many, and not without reason, that this ideal was one of deception An impression of size and extent was to be given where it did not exist, and that which was the product of Art was to be made to appear as if it were the work of Nature, while objects which did not fall into the scheme of Nature were to be= “con cealed from view. Repton frankly con- fessed that the principles he had set forth were directly — op- posed: to those of the older gar- den, which may perhaps be a sufficient condemna- Farm, and the examples at Hagley, Hayes, and the Leasowes became celebrated, though the work of the Hon. Charles Hamilton at Pain’s Hill in Surrey was one of the finest examples of the landscape period, deserving to rank with Brown’s work at Blenheim, and it happily remains as an illustration of a real success to this day. As we have said, there were many who recoiled from the landscape style, and no one expressed the revulsion of fe ling better than Richard Payne Knight in his ‘* Analytical Enquiry into the Principles of Taste,’’ published in 1805. He remarked that, in former times, the house, being. surrounded by gardens as uniform as itself, and only seen tC he@eu gh vistas at right angles, every visible accom- paniment was in union with it, and the systematic regularity of the whole was discerni- ble from every point of sight; but when, accord- ing to the new fashion, all around was tion of them lan y the itural style, and the work of Southc at Woburn A STONE SEAT, DANBY, levelled and thrown open, tines; po or square edifice was exposed alone, or with the accom- panimentonly 2s ‘GOOMADVH LV LVAS FOVYNAL ANOLS V Br itt ge ak Ave 4] Wace tee aly oe eb, ge INTRODUCTION. and porticoes amidst spacious lawns rular clumps or masses of wood and sheets of water. He did not know a more melancholy object, neither associated nor harmonised with anything. He view from one of these solitary mansions was | than that towards it.. Mr T. James was a er times, who, in ‘‘ The Flower -Garden,”’ ss to say of the evil days upon which of its regular windows interspersed with irre writer of 1852, had scathing gardening and the had natural or English style of which we were jibed at the unmeaning flower-beds disfiguring the lawn in the shapes of kidneys, and tad- poles, and _ sausages, and leeches, and com- mas, and he thought, surveying the various styles that had_ pre- vailed, from the knotted gardens of Elizabeth, the pleach-work and intricate flower borders of James I., the painted Dutch statues and canals of William and Mary, the winding gravel paths and lace- making of Brown, to poor Shenstone’s senti- mental farm, and the landscape fashion of his own day, there could be little reason to take pride in any advance in national taste. What may be said for the landscape gar- deners is that they opened the way for a greater love for the flower world, and for delight in the natural form and beauty of blossom and tree, mak- ing them a great addi- tion to any barren geo- metry. No doubt the real truth lies in what Cardinal Newman said in hiss =““Ideas -ofs-a Universe,’ that every- thing has its own per- fection, be it higher or ’ lower in the scale of things ; that the perfection of one is not the perfection of another; that things animate, inanimate, visible, invisible, are all good in their kind and have a best of themselves, which is an object of pursuit. With this thought in our minds, let us now reflect a little upon some of the individual merits of gardens such as are depicted in these pages, and first let us recognise the virtue that lies in the enclosure, the variety of level, the terrace, and the good tall hedges of yew or hornbeam which have been alluded to—the good old system, as Mr. James said, of terraces and angled walks, and clipped hedges, against proud. He A SUNDIAL dark and rich verdure the bright, old-fashioned flowers in the sun. We may. see that in such a manner of lesign there is a proper transition from the architecture house to the natural beauties of the paddock and the There are fine rectangular gardens of varied character at Montacute, Venn House, Ashridge, Ham House, Athel- Newstead, Hoar Balcarres, and in many great English and Scottish gardens. Here may be found inspiration by those who would excel in such character of park. hampton, other Cross GARDENS. OLD AT AND NEW. design. The hedge which encloses does not necessarily exclude what is without. Indeed, from the elevated terrace, there is oftentimes a wide outlook over the features beyond. The hedges should certainly be of the best, and they may be seen in excellent taste at such places as Blickling Hall, Brockenhurst Park, Melbourne, Etwall, Drummond Castle, and in a multitude of other great gardens in the land. Topiary -features may be introduced according to the garden-maker’s taste. They may be no more than some _ pleasant variation of the well- cut hedge,. like - the ‘*bulwarks ”’ ‘at Sedg- wick Park or the stately composition in ilex and yew at Brocken- hurst.. Such. hedges may be used to accen- tuate design, as in the fine planned garden at Drummond Castle. — It is not necessary, nor always. desirable, to introduce exaggerated quaintness, though some love the conventional forms. of verdant sculp- ture such as are found at Levens, at Hesling- ton Hall, at Cleeve Prior,,at Hampton Court, Leominster, and at other places, includ- ing, as by a kind of recrudéscence; the modern gardens of Elvaston,. Derbyshire. At Packwood the shapely yews are grouped in ordered ranks to typify, as by a green allegory, the apostles, the younger brethren, and the mul- titude gathered to hear the discourse of our Lord upon the Garden Mount. Let it not be imagined—Levens itself is a demonstration to the. contrary—that such quaint features are incompatible with THE VYNE. a profuse growth of flowers. In great planned gardens, such as we find at Wilton, Longford, Belton, Trentham, Castle Ashby, and Stoke Edith Park, the features which are, or may be, enclosed become rich and elaborate. Fancy is exerted to devise plans for such ‘‘ knotted gardens.’’ There was a time when the flowers themselves were banished from like parterres, and when variously coloured earths were employed to give the colour which in these days is imparted by the radiant things that grow. The love of flowers has banished that species of artificiality. There are examples in this volume of very magnificent planned gardens, which are gems in_ their setting of wood and lawn.. They can rarely be satisfactory, indeed, unless, as in such a fine, reposeful example as that at Newbattle, the elaborate beds compose with fine belts of trees, which bring into the garden composition that element of shade and harmony which is necessary to balance such bright and varied features. But, when we reach these elaborate expressions of the gardener’s art, we are far away from the quaint old enclosed gardens from which such things sprang. Now, the raised INTRODUCTION. LN: terrace, flanking or surrounding the garden, is own brother to the enclosing yew hedge. We may see in the noble gardens at Hatfield illustrations of much of the best character of old English gardening. Grand is the effect at Montacute —admirable also at Bramshill—and if we had no example remaining, it would be easy to conjure up the beauty of a mossy terrace and an old balustrade, with a peacock there loving to flaunt its glories in the sun, from which to overlook a well-arranged parterre, where perhaps a fountain decked the centre, or a goddess vested in the lovely hue of lead adorned the scene. We may turn then, as at Montacute, into some beautiful garden-house, and here the garden architect has scored many a triumph. No better exemplar to the modern worker could be taken’ than those admirable buildings. But, of course, garden architecture is not confined to the building of summer-houses upon terraces. Some may like to have their retiring-place aloft in a tree, like the quaint old summer-house in the lime at Pitchford Hall. The bowling green-house at:Melford Hall is another excellent example, and the magnificent dovecote or columbarium in the garden at the Vyne, with its mellow brick, giving character to its classic features, and its. tiled dome, shadowed by the majestic oak, might be an inspiration to many. The garden-houses at Severn End and Charlton, Kent, are equally noteworthy. Let us, however, return to the terrace, which might form an inexhaustible — theme. Its character must depend primarily upon its situation. It does not always flank a garden. Sometimes, in multiplied form, it constitutes, as at Barncluith, the garden itself. It has its variety of character also in its particular forms. It may comprise balustraded walls, or plain or even embattled parapets ; it may be composed with green slopes, or it may take character from its hedges. It is often of stone, but, sometimes, as at Packwood, there are fine. examples of excellent work in brick. It has its flagged ways, its turf walks, and its gravel paths. The terrace can rarely fail to be associated with the stairway, and here again there is extra- ordinary variety of character. Andrew Reid, whose ‘Scots Gard’ner’’ was pub- lished originally at Edinburgh in 1683, and was the earliest Scottish book on the subject, desired, if it were possible, that a straight pathway should lead down to the centre of the terrace, and there, by a double stairway, give access to the garden below. In some cases the terracing is of very fine architectural character. What better could be wished than the: famous terrace shadowed by the limes at Haddon, with its romantic memories of Dorothy Vernon and of her flight with young John deka THE SUNDIAL, FYFIELD MANOR. Manners ? Admirable again are the terraces at Cranborne Manor, illustrated in these pages, and the fine classic example at Clifton Hall, Nottingham. The terraces at Groombridge, with their stairways and various features, are a study in themselves, and there are examp'es at St. Catherine’s Court, Bath, and Wollaton Hall, Nottingham, which are delightful. The magnificent terraces at Drummond Castle, overlooking the characteristic garden there, have merits that are con- spicuous. We find in some places a stately description of architectural terrace, with massive features of classic stone- work, as at Margam Park, Balcarres, Harewood, and Linton Park. At the other end of the scale are terraces which are no more than green. grass slopes, with level tops, rising one above another—a kind of moulding of the ground, such as we see at Lochinch, having very beautiful effect. These various examples of fine work in gardening will serve to show how really wide is the choice and how many are the opportunities presented to those who have realised the beauty of fitness in garden design. In mentioning the terrace we are led naturally to other features, and first among them to the vase and the urn, upon which many a craftsman has lavished his skill. Now these are objects found in nearly all gardens formed within the last 200 years.. They are often of stone, not seldom of marble, and in many instances of lead, that metal which under the influence of the atmosphere assumes a hue so delightful in any garden picture.. There are fine leaden vases at Chiswick House, at Ilford Manor, Somerset, and at Penshurst, to name no more. Mag- nificent examples in stone are at Sion House, at Margam —a noble specimen on the orangery terrace in the garden. there forms the frontispiece of this volume—and in many other places. We shall indeed scarcely find in a good garden a terrace or a. garden seat without flower vases to adorn it. Note the lovely examples at Hackwood, a Groombridge, and in very many of the garden pictures in this book.. The sculptor has achieved many excellent things in bringing his skill to bear upon these garden adornments, and nothing could be fairer or more beautiful than a characteristic: vase well filled with a wealth . of radiant flowers, or.more attractive in some situations than a nobly sculptured urn. The garden sculptor has also adorned our gardens with classic figures and the gay creations of fancy. He has produced many an excellent work in lead, and in old gardens it is delightful to encounter some idyllic figure in this material, GARDENS OLD AND NEW “f TOI NE é Ta bit aaa THE LION GATE, INWOOD. wm <0 ONE OF THE. IRON GATES, HAMPTON COURT, INTRODUCTION. standing perhaps against some wall of well-clipped green. Pan upon his pedestal is at Rousham, a shepherd at Canons Ashby, and ‘characteristic arcadian figures are at Powis Castle and Enfield Old Park. A kneeling slave, ‘‘ black but comely,’’ is at Norton Conyers in Yorkshire, and a like figure is in the lovely garden of Guy’s Cliff in Warwickshire. Again we find XXX1, gleaming marble, though the use of that substance requires judgment and care, and the situation must be appropriate to emphasise and yet to harmonise its beauties. There are fine bronze statues also, as welcome as those of lead, as at Leighton Hall in South Wales, where we may see the son of Deedalus plunging headlong into a miniature 4igean. There THE GARDEN GATES, the black slave kneeling to support an urn at Melbourne, Derbyshire, and at Renishaw Hall, in the same county, two leaden centurions keep watch at the approach to one of the gardens. Leaden figures such as these have an attraction not easy to explain; but, of course, lead is not the only substance in which the garden sculptor may excel, He may give us the CHISWICK HOUSE, also we may find excellent bronze vases, and elegant little amorini adorning the terrace borders. Great is the variety of garden sculpture, and endless the play of fancy in garden planning and adornment. Paul Hentzner, who made a journey into England in the year 1598, noted the glories of the palace of Nonsuch, with its pyramids of marble, its double fountain XXXIL GARDENS OLD AND NEW. sprouting out like a pyramid, upon which were perched small birds that streamed water out of their bills, while another fountain was in the Grove of Diana, where Actzeon was turned was sprinkled by the goddess and her nymphs, What it is necessary to avoid is; an over-elabo- i repose, such as Matthew Arnold noted at Knebworth, where he found the grounds full of statues; kiosks, and knick-knacks of every kind, a strange mixture of the really romantic and interesting with what was ‘‘ tawdry and gimcracky.”’ Let us not forget that truly appropriate feature of an old garden, the moral sundial, or, as Charles-Lamb calls it, ‘‘ the primitive clock, the horologe of the first world ’’ Nature herself is truly a dial, for, marking the seasons. by her change, she tells the hours also by the opening and closing of many a flower. The sundial counts no hours save such as are serene, as Queen Alexancra’s dial proclaims at Sandringham. They pass, but the garden: monitor has only the stealing shadow when all things are gay. Sometimes dials are shaped of the into. a stag as ration, destroying House, Wrest, Kew Palace, and elsewhere. The forms are usually simple, but they rarely fail. to be satisfying. In Scot'and sundials have a character all their own. What that character is may be .seen at Holyrood, Glamis Castle, Drummond, Balcarres, Pitmeddin, and Stobhall. These dials have elaborate features, and the gnomons are various and curious. The sundials at Newbattle are not excelled by any in Scotland, and are more architectural than sculptured works. The principal dial is extremely fine, and there is a copy of it with some variations at Tyninghame. The hand of the garden architect may also be devoted to the production of charming garden seats, and _ their stonework accessories. Excellent examples are at Aldenham House, Hackwood, and Danby, not to catalogue any more. Sometimes opportunities may be made and used well, asin the stately stonework known as Six Months of the Year at Barrow Court, where the changing seasons have their repre- sentatives in the semi-circle. There have been many who would limit the scope of the architect to the house, and who have t THE ENTRANCE GATEWAY, OKEOVER HALL. green things that grow, and Andrew Marvell may have referred to such a dial in that delightful garden of his poetry : * Here at the fountain’s sliding foot, Or at some fruit-tree’s mossy root, Casting the body’s vest aside, My soul into the boughs does glide; There, like a bird, it sits and sings, Then whets and claps its silver wings, Andtill prepared for longer flight Waves in its plumes the various light. Ilow well the skilful gardener drew Of flowers and herbs this dial new, Where from above the milder sun Does through a fragrant zodiac run; And as it works, the industrious bee Computes its time as well as we. How could such sweet and wholesome hours Be reckoned but with herbs and flowers ?”’ But, in the fashioning of sundials, the work is generally that of the sculptor or architect. How, beautiful are the forms that have been given to dials we may see at Eydon Hall, Enfield Old Park, Chiswick House, Northenden, Belton regarded him as an intruder in the garden sphere. Those who have followed these remarks, and have examined the pictures in this volume, cannot hold that view. They will recognise, on the contrary, that there can scarcely be any great garden in which the architect does not exercise his skill. His work may consist in the making of terraces, with their stairways, and in the building of garden-houses, such as have been alluded to. It will include the construction of bridges, and the designing of appropriate gateways, which are ever a striking feature of the great homes of the land. How beautiful gateways may be made many of these places disclose. There are examples at Hatfield, Charlecote, Bramshill, and other noble places which are not to be surpassed. We are tempted to reflect upon the cause of such labour being expended upon the approach to the house and the garden. The gate was the symbol of hospitality, the place where the host would welcome his guests, and where he would bid them God-speed. It was the portal of the pleasures he would bestow upon them, and he sought to dignify it as KXXI11, INTRODUCTION, “LSUNHSNAd ‘SddLlS FOVUNEL QNV ALVD Vv XXXIV. the token of h's estate ard his goodwill. Upon gates and gate- have therefore lavished. their skill, and tals of the baptistery at Florence onward to lay, the gateway has many a time been a ; In turning over the pages of this book, the reader will discover several admirable examples of such work. It was not merely, the old workers said, that their stonework should be good, that the lofty pillars supporting the vase or the heraldic beasts holding the family arms should be well proportioned and well wrought in style appropriate. There must also be provided the gates themselves, the best work of the craftsman’s hand. As at Hampton Court and at Drayton House, the gates might be associated with grilles cr clairvoyées; but, whether with these or without them, there was abundant opportunity for the skill of the smith. We may note the gates at Grimston Park and Chirk Castle among many that are excellent. The famous gates at Hampton Court are masterpieces indeed, and perhaps never has iron been so skilfully wrought as under the direction of Jean Tijou, who cesigned them, and who, it may be houses great from the f: the example creation notablefor Character and*beautiful design. mous p Fir 5 Hea THE ITALIAN interesting to remembcr, was also emp!oyed by Wren to fashion the iron gates of the choir of St. Paul’s. The actual hand:craftsman was Huntingdon Shaw, of whom his epitaph in Hampton Church rightly says that he was ‘‘an artist in his way.’’ Let not the maker of gardens aim at anything so ambitious. For a palace the gates of Tijou and Shaw are appropriate enough ; but rather let us welcome such handsome work as exists at Compton Beauchamp, Berkshire; Ragley, Warwickshire; Norton Conyers, Yorkshire; Bulwick Hall, Nort! ampton; Stcneleigh, Warwickshire; Belton, Lincolnshire ; 5 t and Barlborough Hall, Derbyshire. Excellent as a modest work the garden gate which is illustrated at Inwood, hanging tle simple brick piers, topped with quaint heraldic beasts. Notable, again, is the gate at the foot of the terrace steps at Penshurst. A more elaborate example is the entrance gate at Okeover Hall, which is a‘so illustrated here. It is arched ani enriched in the ironwork, and is flanked by rusticated piers of stone, upon which stand well- wrought urns. A simple gat way at Chiswick House, overhung by between GARDENS OLD AND NEIV. wistaria and flanked by ivy-covereJ piers, is an example that many might follow. The ironwork at Inwood has been alluded to, and the low garden cate and railing in floreated ironwork may also be noted as an admirable example of handicraft in this manner, while the fruit-bearing Cup'ds on the gate-posts are suggestive of such adornment. We may now turn to another beautiful garden feature in which Nature triumphs over Art—the cool and grateful pergol 1 and the quaint pleached walk. They will suggest to many the gardens of sunny Italy, giving grateful shade from the noonday heat, and recall to others the seclujed gardens of Shakespeare, like Leonato’s, and the **Pleached bower, Where honeysuckles, ripen’d by the sun, Forbid the sun to enter.” They may think, too, of quaint Queen Mary’s Bower of wych- elm at Hampton Court ‘‘ for the perplexed twining of the trees very observable.’’ There are examples of beautiful pergolas at Compton Wynyates, at Aldenham House, at Orchardleigh, Frome, and a delightful apple walk at Lilleshall, Salop, f —e pl GATE, INWOOD. deserves to be noted. A beautiful modern example may be cited at Great Tangley Manor, Surrey, and there is a sweet- scented 10se pergola at Heckfie'd Place. A lovely lily-lined walk is depicted here. Obviously such features must be welcomed in all gardens. They will import into a formal enclosure a delightful natural character, and invention may be exercised in devising picturesque supports of sturdy sufficiency, and trunks of trees with the bark on them for horizontal framework, upon which climbing flowers or fruits shall plenteously grow. Let such walks be of the greenest turf, ard ever delightful to linger in must they be. The grass path, indeed, whether it te that of a pergola, or an avenue, or a way through a wood, is a beauty in any garden or pleasaunce. There are examples at Munstead Wood, with tea roses and various kinds of clematis for covering, and at other places described in this book. The bowling green, which has come into new favour, demands for its perfection the skill of an experienced groundsman, who, by judicious sowing, watering, and cutting, can produce the level emerald qd dHL ; VY goal 1qd9y ‘VIVAYHLVYM Gd LSA ICE S VY > S a Yo Ss ac ae ae Rom UU ‘ —e silt UT WUT ge XXXVI. GARDENS OLD AND NEIV. THE UPPER LAK FROM THE EAST, MARKS HALL. THE LNIRANCE TERRACES, LOCHINCH. INTRODUCTION. KAKXTU am@tishman sped his biassed bowls in the en in many books, and interest in the revive with the new growth in the love ere are fine examples of bowling yreens ations at scme yreat houses in England, than upon the marvellously beaut ful bn in Somerset. Norton Conyers anJ ford, are other houses distinguished by Farming bowling greens. a green lawn must needs be associated generous proportions, full of herbaceous forms its margin. Here the tall larkspurs, iums in all their shales of blue, phloxcs, beauty that will surely fructify practically ny. w to some other distin-tive features cf the Bch nevertheless are interesting, attractive, those less dignified. Such are stately : tive of famous men, or like that which BCorinthian pier, with a goddess in lea rnment. Such are the stately avenues a style of Le Nétre, exemplified in’ the rip.e 1Z avenues at Hampton Court, and the great avenue through Bushey Park. Here we find the long canal, still and beautiful, reflecting in its slvery surface the mighty trees that rise on either hand. One of the magnificent canals at Hampton Court is illustrated here, and is as fine A LILY-LINED an example as we could wish of gardening ‘in the stately style. Such work, it is true, belongs to the park, rather than to the garden proper, but it has come to us from a time when the spirit of the garden was extended into the landscape beyond. A stone-margined water at Albury is also depicted, rich in its water-lili s, in order to suggest how glorious are the opportunities offered to those who can work in the sta ely manner of the grand style of gardeaing. Magnificence is also in the splendid ‘‘ Emperor’s Walk’’ at Grimston Park. It is found in the fine pond with its flanking yews at Sedowick Park, known as the ‘‘ White Sea’’ and the ‘ Fortifications.’’ Could we wish anything fi er than the noble’ Dragon Fountain at Brockenhurst Park, begemmed with _ lilies, well margined with masonry, advurned with urns, flinked with superb hedges, and with a splendid double stairway leading up to the stately gard n beyond ? The stateliness which has been alluded to does not imply re- moteness. It may have tie fine and simpte G.itacters> ~de- p.cted at High- nam and_ else- where. It may even be brought into modest gardens,toinvest them with some character of dignity. And yet dignity is not perhaps what most people seek in gardens —a remark which brings us back to a reilec- tion already made, that the garden, like. the house, is the ex- eression of him who possesses it Abundant are the iilustrations in these pages if the many forms and features which may make gardens — attrac- PERGOLA, tive. The avenue, which may be described as the leading feature of a stat ly garden, conducts us out from the house’ to the neishbdourin « country, and thus we are led-to speak of tiie lindscape character of gar’ens. It was an old fancy that the fermal features of the parterres neizhbouring the house mizht give place, as one withdrew, to more of natural character, until at length nothing of the artificial remained. That is an idea which may commend itself to many. There is much to be said for it, and an examination of the pic ures included in this volume will disclose how success-ully the plan has been appli-d. At least of this we may be sure, that no rigid line necessarily divides the geometrical or formal gardens from the landscape features that lie ®eyond. How sweet 2nJj beautiful a landscape garden may be made ‘ASNQH NOIMSIHO ‘“NIVM YVYCHO = =z Q a N Q Q) 9 ~Y x ra m& Ba © INTRODUCTION, t BORDE Aas =r] a) — x x rs — EAST THE LK SS ea Oy kee rad banter a xl, GARDENS OLD the lake in the hollow at Pain’s suspect the presence of the hand we see in the illustr Hill. Here it is difficul of Art, which, as Wordsworth said in another connection, has, indeed, worked in the very spirit of Nature. It is delightful to walk in the \ ds and by the streams at Aldenham House. Let it not be forgotten that the well-managed wood, with its ied trees, its rhodcdendrons, azaleas, and perlaps its lilies, ously-hued fungi in the autumn, may bea nasterpiece. We may look over a fine landscape den -at Prior Park, Bath, or wander among pleasant ways in the gardens and woods at Wollaton, Nottingham, or seek the solace of rock gardens by woodland paths like that illustrated at Hartwell House. There are landscape features at Guy’s Cliff, as we wander by the flower-bordered Avon, andin many ancther place. Chatsworth is an illustration of how stately g:andeur may iie in the midst of a superb landscape, and compose a garden picture wholly satisfying to the eye. ] m 1@ 1 AND NUIF. historically until it assumed the particular forms in which it exists to-day. We have seen what were the torm and !eatures of gardens in the old times, ani what views have been entertained as to the character they should possess. We saw that the old garden was distinguished by the spirit of enclosure, and we have considered in what way the enclosure was made. We have discovered that the enclo-ed garden, possessing formality in a greater or less degree, was the garden of the old Englishman. Then we observed how the changing taste of successive generations modified the conception of the garden plan. The spirit of seclusion had been broken down, and men had learned to look around them to the world at large. Hence, 11 course of time, we saw how the new spirit came in, which, rejecting the older inspiration, thought it right to take Nature in an intimate sense into the garden plan. We were able to recognise that there were absurdities and extrava- gances on the one side and the other, and that the landscape A PAVED WALK AT HARTWELL HOUSE. It may be observed that fine trees and water, with a eraceful contour of the land, are the main features to be sought in the open ground. With these some objects must be combined; else would*the landscape garden scarcely be a garden at all. Where there is water, there may well be a bridge, and we see with what success the Palladian style is applied in the bridges which adorn the gardens of Wilton House ind Prior Park. There is a famous classic bridge of three | inning the Derwent at Chatsworth, which Caius Gabriel Cibber (the father of Colley Cibber) adorned with nd we illustrate here an excellent example of a fine istraded bridge, picturesquely placed in relation to a waterfall, at Kedieston. A not less admirable and beauti‘ul ole exists at Amesbury Abbey. is Introduction has now surveyed, in a b-cad sense, the whole world of garceaing. It has described, without entering into too much detail, the broad character of the garden gardener went to excesses as great as ever his predecessor had perpetrated. Then we saw how a recoil resu ted from the baldness of the mere landscape garden, and how once again the taste of the garden-maker accepted in various forms the older plan. Then we recognised how glorious have become the opportuxities offered in the marvelious beauties of the flower world to the gardener of these days. The true lesson to be drawn from the survey is one cf ec ecticism in selec.io1 co1- bined with crder in p!ai. Nothing that the garden designer and the carden lover can give should be rejected, whe her it be in architectural adornment, in the orderly arrangement of trees a d bushes, or in the wealth of flowers which modern times have so marvellously multiplied. The relationship of the garden to the house is the one essential to be borne in mind, and he who would make a beautiful and a sweet garden must regard as his best achievement a right interpretation of the relation which exists between his garden and the dwelling-place it adorns. INTRODUCTION, HOUSE. HOLLAND uy < G R WATE FHE ‘HONOTS “NYVd ANOLS “NIVM NUALSHM FHL W, « 9 z x OLD ENS D GARL xHit. INTRODUCTION. “HOLIGGSY : s * Ad 7 ‘z oe ‘ADNVUD TVIEMSH LV NIVINNOdA V wl oRAm er OR TRE, FE REET: xliv. GARDENS OLD The pictures in this volun harmony contrast, isfound in them. Itmay be seen archi- tecturally in the water gate at Holland House, in stately garden fashion in the long walk be- neath the cedar and between the hedges at Stoke Park, Slough, and ‘in the fine fountain and dainty arrangements at Hewell Grange, AND NEW. education in the gardening art. There is endless satis- faction in beau- tifying a house in its garden environment. This has been an occu- pation which has engrossed the attention or formed the diver- sion of many distinguished men. As all art is but a vehicle of expression, so they have sought, in this verdant form of it, to manifest their taste for the delight of their friends and the — satisfaction Redditch, ~ and THE DUTCH GARDEN, PAIN’S— HILL. of themseives. again’ in the wealth of floral charm and the sweetness of landscape association at Pain’s Hill. These are but examples of many things suggested by these pages. An examination of them should fascinate, while a diligent consideration of — the features and dispositions they disclose must be a_ liberal They have seemed to be in some world of enchantment where ‘ever new vistas and other opportunities opened to them. Those who in these days are attracted to the work of garden creation or adornment will find both example and encourage- ment in these pages. THE ROSERY, PAIN’S HILL. xii, INTRODUCTION. “VIHA S.NIVd ‘ MOTIOH JHL GNY JANVT SHL ‘"ATLSVO GNOWWNUG LV NEAGYVD FaOVeNsL FHL NI DRUMMOND CASTLE... PERTHSHIRE, —_. OF O enter an old Scottish garden—characteristic intro- duction to a garden survey—is to penetrate a world of rare and individual charm, where even the green things that grow in orderly ranks reveal much of history. The ancient hostility between England and the Scots, by force of nature, as it were, had thrown our northern kinsmen into close sympathy with France; and when Mary came to the Scottish crown, she brought with her some- thing of the spirit of another land. The refinements of the Renaissance and some of the lighter graces of the South began thereafter to be grafted on the sturdy character of the dwellings of her opulent subjects. The rugged. grandeur of the castles of the old Scottish thanes, which crowned many a dizzy height and lifted their embattlements above rocky preci- pices, whence their warlike inhabitants had looked out over the lower country, as eagles from their eyries, took on something of the charm of houses in gentler climes. Those tourelles on the chieftain’s fortress bespoke plainly some kinship with at <5 pails Riche Ra