GARDENS

THEIR FORM AND DESIGN

A GARDEN OF DREAMS.

GARDENS

THEIR FORM AND DESIGN

BY

VISCOUNTESS WOLSELEY

CITIZEN AND GARDENER OF LONDON

AUTHOR OF "GARDENING FOR WOMEN," " I\ A COLLEGE GARDEN,
''WOMEN AND THE LAND," ETC.

" And a man shall ever see that \vhen ages grow to civility and elegancy, men come to
build stately, sooner than to garden finely, as if gardening were the greater perfection."

LORD BACON.

ILLUSTRATED BY

MARY G. CAMPION, O.B.E.

LONDON
EDWARD ARNOLD

1919

\All rirhif rtsen-t .;]

a Dedicate tbts JSoofc,

IN GRATITUDE FOR MANY PAST KINDNESSES SHOWN TO ME,
TO THE

MASTER, WARDENS, ASSISTANTS, AND COMMONALTY

OF THE

COMPANY OF GARDENERS OF LONDON,

WHO ARE CONTINUING THEIR WORK FOR THE IMPROVEMENT AND DEVELOPMENT OF
HORTICULTURE, WHICH HAS BEEN MAINTAINED SINCE PRIOR TO THEIR RECOGNITION
BY THE CORPORATION OF THE CITY OF LONDON IN 1345, AS THE FRATERNITY OF
THE GARDENERS OF THE EARLS, BARONS, CLERKS, AND CITIZENS OF LONDON, AND WHO
RECEIVED THE RECOGNITION OF INCORPORATION FROM KING JAMES I. BY LETTERS
PATENT UNDER THE GREAT SEAL IN 1605 AND l6l6.

VAIN UBRARY.ACIiHCLJL.TURE DEFT.

INTRODUCTION

GENTLE READER,
Before this book goes forth, to find a place
perhaps in the homes of garden-lovers, I should
like to explain how it has come into existence. It has
been my habit for many years past to note anything that
has struck me as being of special interest or beauty in the
many gardens which I have visited ; and thus I have,
a large collection of memoranda.

These have been carefully preserved with a view to
transmitting them to students at the College of Gardening
at Glynde. Some of my young people tell me that they
have been helped by them, and have been made to see
beauties and detect faults in garden design which other-
wise might have passed unnoticed. It is in the hope
that owners of gardens may find in my recollections some-
thing to ponder over and consider that they are now
offered to the Public.

I have sought to give suggestions for the perfection of
gardens, both small and large, dealing not so much with
the colour and arrangement of individual plants as with
the lie of the ground and the planning of restful lines, as
comprehended by the far-reaching Art of Garden Design.
Now that garden craft has attained a point when rich
and poor, young and old, people of every standing and
position, are all interested in it, there is danger that

vii

2

viii INTRODUCTION

in these days of rush and hurry the true Art may be
obscured by the mists of a false pretentiousness.

Thus all who possess an acre or more of ground think
that they alone are fitted to plan out and arrange their
gardens, just as they do their drawing-rooms and the
interior of their houses. They do not bear in mind that
garden design as it is studied by the one nation which
really understands it — the Japanese — takes many years of
serious application to reach perfection. It is a very high
art ; as Maurice Hewlett aptly makes one of his characters
say : " Horticulture is next to music the most sensitive of
the fine arts. Properly allied to Architecture, garden-
making is as near as a man may get to the Divine
function."

None of us would attempt to plan or build a large
and important house without the assistance of either an
architect or at least a competent builder, yet many attempt
garden-making without the help of either a landscape-
gardener or even a trained grower of plants. Surely
those celebrated and often quoted words of one of our
greatest English gardeners should be recalled more often,
" that when ages grow to civility and elegancy, men come
to build stately, sooner than to garden finely ; as if garden-
ing were the greater perfection." Lord Bacon not only
knew well the individual charm and beauty of plants, with
their infinite variety of habit, colour, and scent, but also
he was able to take that just view which combines, in an
almost imperceptible gradation, a certain formality and
stateliness of line and proportion near the house with an
informality resembling nature in the more distant parts
of the garden. Those who study the old French school
of garden design will find that, as in architecture, the
style of one date becomes the foundation for a further
development and improvement, which it may take a
hundred years or more to complete. Thus in Du Cerceau's

INTRODUCTION ix

plans of French chateau gardens there are indications of
features which became much more accentuated in Le
Notre's work a century later. In his treillage hedges
Le Notre improved upon the wooden berceaux which his
predecessor had made use of ; and so we may learn how,
by careful study of the past work of the great leaders,
and by building upon the good foundations laid by
them, success is achieved. This lesson was known to
the great garden artists of former days : now we have so
few leaders in the profession that owners of gardens
are often obliged to choose between the guidance of a
nurseryman and their own intuition. It is but natural
that they should find the latter preferable, because in their
travels through foreign lands, from their acquaintance
with beautiful pictures and fine gardens, they have
acquired a knowledge of what they want to possess.
The nurseryman's education is too often confined to the
growth of plants, and rarely includes artistic colour-
arrangement or true garden-making as studied by the
man who is on a level educationally with the architect.

The time has come when the standard of beauty in
gardens has reached such a height that we require more
educated, more artistic, more thoroughly trained and
competent men and women to take up this delightful
profession of garden-making. There are vast openings
waiting for them, not only in the planning of small or
large private gardens, but also in the arrangement of
public parks, and again in the study of forestry and fruit
culture. More intelligent directing heads are wanted in
the " growers'" departments, too; but for the artistic,
garden-making side of horticulture an even higher
standard is set, and at the moment the competition
is limited to a few.

If there were more true professional artists of garden-
making, there would not be so many of those strangely

x INTRODUCTION

childish creations that distress us. A beautiful site upon
sloping ground is converted by the owner into pleasure-
ground, and here is to be found some design of flower-
beds— taken perhaps from an old book of formal garden
plans — which is charming in itself, but is spoilt to the eye
of the man who knows about garden-making by the fact
that the ground has not been levelled to receive it. As
incongruous is an old-fashioned walled-in garden, perfect
in its simple restful lines, which is converted by the
inexperienced into a miniature Japanese mountain scene,
forgetful of the fact that in its native country this would
not be within boundary walls.

It is time the garden owner became as ambitious to
have correct and well-balanced lines in the garden as he
already is to grow larger and better sweet-peas than his
neighbour. It is with a view to directing his attention to
this want in our English gardens that I have written this
book. I hope that it may prove of some small assistance
to him. It has always been my fondest wish that garden-
making should become an honoured profession, and that
the sons and daughters of Army and Navy men, for
instance, should consider themselves privileged in being
able to belong to it. The amateur who revels in garden-
ing as a pastime is helping much towards this result ; but
two important points perhaps need elucidation before the
public can be expected to show any enthusiasm over the
idea of garden craft as a future profession for their
children.

First, it should be made quite clear that the student
will in no way supplant or interfere with the livelihood of
the gardener, who up to now has held office. He will
still continue where he is. We want his honest face and
his strong arm, since there is much that he alone and no
one else can accomplish. He now needs help, however ;
he alone does not suffice to bring into being the many

INTRODUCTION xi

beauties people expect to find in gardens. We know that
even Le Notre — that exceptional creative genius, who
possessed all that practical and artistic education could
give — was forced to supplement his own knowledge by
seeking the help of experts in many branches of his art.

In England, therefore, we now require, besides the
man gardener, who is the grower and the routine worker,
the assistance of an educated artist-gardener, a master of
design. He and the architect who has built the house,
or advised about it, should work hand-in-hand, and confer
upon all points connected with the planning of line and
colour. But few architects have had any practical
training in garden craft, and they would welcome this
assistance.

Many an amateur will hesitate at the thought of admit-
ting a further authority into the peaceful surroundings of
the garden. Ladies who own gardens will say : " The
great pleasure I have in my garden is now to be taken from
me, for I like to direct the gardener myself and to get
him to carry out all my ideas. It is unnecessary to have
another adviser." I have often listened to this kind of
argument, and have been secretly amused to hear my
friend asking advice from many amateurs as to the shape
of a pergola or the width of a path, in spite of her disincli-
nation to admit the professional authority. The differ-
ence, perhaps, is that she need take no steps to carry out
the amateur's suggestions, whereas, though the expert's
views would not always coincide with her own, yet she
might feel obliged to give them a trial.

I feel sure, however, that those who have even stepped
over the borderland of inquiry into garden design, those
who know enough to realize their own ignorance, will
welcome the assistance and guidance of the trained
artist-gardener. They will find that the result of listening
to the views of an expert, even if they do not carry out

xii INTRODUCTION

all the suggestions, will amply compensate them for any
feeling of dislike of the temporary intruder.

At all events, it would put an end to much of the
introduction of badly executed architectural ornaments
and figures, highly varnished rustic woodwork, and the
other atrocities that still, alas ! are eyesores to those who
love true art.

The other point that needs understanding is that such
a profession as garden craft is not only interesting, far-
reaching, and refined, but also in every sense remunera-
tive ; for a good income can be made and the health
improved by it.

We have had one great pioneer of such work as women
are adapted to carry out in Miss Gertrude Jekyll, and
ever since she was brave enough to lead the way others
have also taken up garden design seriously. More ladies
are wanted, but they should be endowed, as is our
pioneer, with the qualities of hard work, perseverance,
and orderliness, as well as with physical strength.

The present generation of women often possess the
last-named requisites, but, unfortunately, all have not
been trained to hard work, and this is particularly the
case with those who have perhaps a small income,
whereby they are induced to rest inertly, and not
endeavour to rise to a higher sphere.

In the College of Gardening which I founded at Glynde,
in Sussex, those young women are most welcomed who
are forced by sheer necessity to work hard, for although
there are cases, such as that of Miss Jekyll, where love of
work alone is the incentive, these are exceptional. In
spite of all we have learnt during the course of four years'
war-work, there are many young women still who know
they will have to work, but enter upon it with reluctance.
It would seem to be an opportune moment to point this
out, because if, as I have sketched out in the course of

INTRODUCTION xiii

these pages, many gentlefolk settle upon the land to
carry on the business of a smallholding, combining
flower, vegetable, and fruit culture with the care of
animals, they will then have even greater ties than those
who are solely gardeners by profession. Animals need
attention early and late, whilst any negligence in the
matter of feeding is quickly noticeable.

The importance of continued vigilance on a small-
holding has been brought much to my notice lately
because I have joined forces with Mrs. Peete Musgrave
in having one at Massetts Place, Scaynes Hill, Sussex.
The young women who come to us there for a training
have this impressed upon them, and in the mornings the
sound of the goats' bleating is as early a reVeille as was
in my old home at Ragged Lands, Glynde, the gardener's
bell that told of work well started.

In this book I have only sought to make suggestions.
Some few of these are upon a large scale adapted to big
places, but the majority are such as could be economically
carried out in gardens of varying size. The question of
food-production will continue to absorb our attention for
many years, and so the pleasant relaxation of beautifying
our gardens must be financially a measured one.

I have scarcely touched upon details such as the height
and width of pergolas, the size of paths, their structure,
the kinds of stone to be used for rock gardens, the various
ways of obtaining water — wells, springs, or the motor-
power of pumping-engines. Such work is to be found
carefully described in the technical books relating to each
subject. Garden design is complicated because it is
hardly possible to lay down any fixed rules of proportion.
These have all to be decided according to the site, and
after due consideration of the special requirements of the
family, the house, the formation of the ground, and the
natural scenery that surrounds the place.

xiv INTRODUCTION

I have endeavoured to give a short list of standard works,
with the different subjects which each book teaches best,
so that anyone who wishes to obtain an insight into this
wonderful and most entrancing study may find "short-
cuts " to some of the essentials.

I think that the quickest way of obtaining a training
is by taking a two years' course at a good College of
Horticulture, and thus acquiring knowledge of practical
work. This can be further supplemented by land-survey
lectures, and a course of plan-drawing with an architect
or at college. But the important final training is only
obtained by personal observation in many gardens, and
by keeping clear notes of all that is seen. Then, too,
natural scenery should be studied : a morning spent in
close observation of trees and shrubs of the country-side
is never wasted, and lessons are there learned that are
never forgotten, for love has guided the teaching.
4< Never lose an opportunity of seeing anything beautiful.
Beauty is God's handwriting, a wayside sacrament ;
welcome it in every fair face, every fair sky, and every
fair flower : and for it thank Him, the fountain of all
loveliness, and drink it in simply and earnestly with all
your eyes ; it is a charmed draught, a cup of blessing."
This was the teaching of Charles Kingsley, and always
seems especially suited to those whose life-work lies in
the twin crafts of agriculture and horticulture.

It has been my wish to point out to those who may
never have had their attention drawn to such things,
where careful imitation of Nature should be the essential
aim, and when it may be pardonable to preserve or even
introduce a touch of topiary work, how height in a garden
is wanted to give vivacity, and where surprise gardens or
vistas leading to the unknown will add interest.

Our best English gardens are lovely with colour-scheme
herbaceous borders filled with well-grown flowers. We

INTRODUCTION xv

have, too, what no other nation possesses, beautiful fresh
grass-lawns and wide-branching trees. One thing, how-
ever, we still lack, and that is skill in garden design,
in the proper selection and arrangement of architectural
features, tree-planting, and the right treatment of the lie
of the land. We should be nearer perfection did we
possess some of that sense of restraint which keeps the
Japanese from growing flowers merely for their own sake
and restricts their choice to those only which fit in best
with a general wide scheme of arrangement. That they
are great flower-lovers is proved by their delightful
habit of taking family holidays to view the plum, peach,
and cherry blossoms, followed by the wistaria, paeonies,
azaleas, irises, the lotus-flower, chrysanthemums, maples,
bamboos, and pine-trees. All these are venerated by
them, but above all and through all their appreciation of
beauty in bud and leaf is the study of line and propor-
tion. We see this in their smaller miniature gardens as
much as in their larger ones, for everything — trees, stones,
mountains, and all — have to be in careful proportion to
the size of the house. Garden design would appear to be
an art particularly suited to those sons and daughters of pro-
fessional men who, having travelled much in foreign lands,
have had ample opportunity of seeing the most perfect
works of art, the best statuary, and the finest pictures, and
thus have almost instinctively acquired a true sense of
the value of form and line. As time passes, and the
garden-lovers of England realize more than they do now
that their craft is not complete without serious study of
the sister art of garden design, a centre of learning will no
doubt be formed whence it is to be hoped there will emerge
English Du Cerceaus and Le Notres having much of the
well-balanced judgment of our Repton. Then each piece
of ground, whether it be large or small, will possess its own
true individuality, and the cottage and castle gardens will

xvi INTRODUCTION

reflect in measured proportion the requirements and tastes
of their different inhabitants.

At the present moment the cottage garden has
perhaps more to recommend it than that which belongs
to a larger place, and thus has greater ambitions to
gratify. In the small square box-edged beds, with
perhaps a narrow stone-paved walk near by, we find the
old-fashioned flowers that Chaucer and Spenser have
taught us to love, tended by some dear old body in a
mob cap. Here they look happy and seem at home,
whereas in many a larger garden there is a lack of
restfulness and dignity. What is wanted is the correct
spacing and laying out of lines, the proper proportion of
widths and heights, the knowledge of the use of level
terraces, the exercise of imagination, held in check by
restraint. When this has been secured by the nature-
lover and the true artist, our trusty friend the gardener
may come and show what skill in growing fine plants
he has attained through generations of plodding in-
dustry. The finishing touches will be supplied by the
owner of the garden ; but she will work with her views
in accord with the professional who has laid a solid
foundation. When this union of workers has been
more firmly established we may perhaps hope to possess
fewer gardens where sorry errors of design mar the
general beauty, and more which hold character and
imagination, as expressed in some of those wonderful
gardens of France and Italy. The feeling we sometimes
carry away from a garden is one of relief at escape from
such childish trifling, a feeling similar to that which we
experience when a trivial book is laid down. But on
the other hand, what satisfying joy is there in the visit to
a garden full of thought and of beauty ! We come away
refreshed, invigorated, as though we had spent an hour
in the company of some wise thinker.

THE AUTHOR.

MASSETTS PLACE, SCAYNES HILL,
HAYWARD'S HEATH,
SUSSEX.

CONTENTS

INTRODUCTION -

ENTRANCES - *

HEDGED-IN GARDENS - - 17

SURPRISE GARDENS - - 27

FORMAL FLOWER-BEDS - - 38

ORNAMENTAL POTS - • - 54

TREILLAGE (IN THREE PARTS)— - 63

I. TRELLIS * 64

II. PERGOLAS - 72

III. PERSPECTIVE TREILLAGE, GALLERIES, AND OTHER

ELABORATE ORNAMENTAL WORK - - 79

TOPIARY - 95
WATER-GARDENS (IN Two PARTS) —

I. FORMAL WATER-GARDENS - - 107

II. INFORMAL WATER-GARDENS - - - 122

ROCK GARDENS - 13*

SUBURBAN GARDENS - • • *45

PAVED GARDENS - 162

GARDEN HOUSES - 17°
GARDEN ORNAMENTS (IN FOUR PARTS)—

I. ORNAMENTS - - 185

II. SUNDIALS - 19*

III. GARDEN SEATS - 195

IV STEPS - - - 205

xvii b

xviii CONTENTS

PAGB

KITCHEN GARDENS - 212

PUBLIC GARDENS - - 222

ITALIAN VINEYARDS - - 233
TREES AND SHRUBS PLANTED TO LOOK LIKE THE NATURAL

HILLSIDE - ... 245

GARDEN PLANS - 258

THE FUTURE GARDEN DESIGNER - 267

APPENDIX - 273

BIBLIOGRAPHY - - 278

INDEX - - - - - • - 282

FULL-PAGE ILLUSTRATIONS

PAOK

A GARDEN OF DREAMS Frontispiece

A SUNK ROSE-GARDEN _ , 2g

A FORMAL GARDEN IN A COURTYARD - - 42

TREILLAGE _ - . •• 80

A FORMAL ISLAND-GARDEN - . -112

A ROCK POOL - • - J39

A SUBURBAN GARDEN - - - - 147

A PAVED RESERVE GARDEN - .

xix

P\

ENTRANCES

THE thought of garden entrances brings with it the
recollection of a very amusing coloured print of
Rowlandson's, called " The Miseries of the
Country." A family of three most unmistakable Londoners
have become possessed of a small country place, in which
they are endeavouring to spend the boisterous early spring
months of the year and to withstand the many disagree-
ables of our English climate. As a last resource they take
up gardening to while away time. An elderly, stout lady, in
short skirts, and with a cap that fits closely to her head, is
seen dragging an old-fashioned heavy stone roller along
paths which are already smooth. Her daughter is sawing
wood, although in the explanatory notes it is stated that
there are already logs enough, and, judging by the way
she handles her tools, it would appear as if her own limbs
were in greater danger of being hurt than the logs of wood.
The father of the family is violently working dumb-bells,
and in his attempts to get sufficient " irrational " exercise
he has split his waistcoat all the way up the back.

The charm of the little picture lies in the pretty formal
hedged-in forecourt, with four small grass-plots divided by

^ • GARDENS: THEIR FORM AND DESIGN

gravel paths and two stately high wooden entrance-gates
between brick pillars, upon the top of which are nice stone
balls. The house is small, stands some little way back
within the court, and has a very pleasing shell-shaped pro-
jecting roof above the door. There is dignity about the
small garden, and, above all, that seclusion which is
nowadays rather difficult to find.

As we explore the outskirts of some country towns, where
newly built houses are within small gardens upon each side
of the main road, we are struck by a want of privacy in
the entrances. So many of the gates are such by name
only, consisting of pieces of wood with circular openings in
them, through which the front of the house can be seen by
every passer-by. Is the reason for this to be found in the
wish of the architect to display the building which is his
handiwork r This in reality would come as a much greater
surprise and delight if a door of mystery opened suddenly
and exposed the house to sight. As it is now, there cer-
tainly is much to interest the man in the street, for he can
see a great deal of the interior of the garden and what the
inhabitants are doing. We miss, however, somewhat of
the quiet dignity of older entrances.

The idea formerly was that behind the hedge or the wall
with its gateway there was peace, and that the stranger did
not penetrate into these private precincts. Only when the
tall wooden doors were thrown open was admission gained
to the surprise garden.

Much thought should be expended upon the approach,
either through a large park to a fine mansion or through a
small forecourt to a tiny cottage. The great aim should be
to lead up quietly to something fine or charming in colour
beyond. There should be grander or better things to see
after we have passed the entrance, so that restfulness is the
aim to be achieved, and, above all, care in the upkeep as
we near the house. First impressions are all-important,

ENTRANCES 3

and where weeds, dilapidated buildings, or badly kept
roads and paths offend the eye, a poor opinion of the
maintenance of the place is formed. This remains during
one's exploration of other parts of the garden, and, how-
ever gay these may be, the first impression is not quickly
effaced.

A further consideration should be that the approach to
a house is as direct and level as possible. Only such
beauties as chance to come within the route selected should
be shown. The drive, after it has passed the first en-
trance-gates, should avoid running parallel with the public
thoroughfare outside the park, and trees must be planted
if there is any likelihood of the lodge and gateway being
seen from the house itself.

These are the chief rules that exist, and if we bear them
in mind whilst planning the approach, and have recourse
to planting in order to beautify where it is necessary or
to conceal where it is advisable to do so, we shall not
relapse into the errors of that era of bad taste when cir-
cuitous drives were made to give a false impression of
size and grandeur.

In Elizabethan days, when carriages were the exception
and travellers usually came on horseback, it was the custom
to plant narrow avenues which led direct to the houses.
Charming as the effect is of a shadow drive, which makes
with its tall lime-trees a frame for the house itself at the end,
there are drawbacks to this kind of approach. The drip
from the trees makes the road itself difficult to keep up,
and its narrowness prevents the many vehicles of our day
from passing each other easily. Narrow avenues such as
these, and others slightly wider, like the lime-walks at
Hampton Court, which measure perhaps some twelve feet
in width and have a five-feet grass-margin upon either
side, are excellent as side vistas, where some pleasing
picture can be contrived near a house. At the end of one

4 GARDENS: THEIR FORM AND DESIGN

portion is an open stretch of turf, on which is a statue
surrounded by a bright patch of scarlet, and then a further
continuation of the same avenue beyond. In miniature,
this is perhaps somewhat similar to that wonderful side
approach to the Palace of Versailles, well known in pictures
as the tapis vert. At Chantilly and in other French
gardens we see the same idea, that wherever a picture
leading to or from the great house can be framed by an
aisle of trees it adds to the beauty of a place. If, more-
over, opening from the wide main approach or drive, any

FIG. i.

B, Apple-trees or rose-bushes, whichever are best suited to the position ;
C, garlands of creepers.

such minor grass-avenues or vistas can be arranged in our
parks, we shall be not only making beautiful pictures, but
also adding fine trees and encouraging the much-needed
revival of forestry.

Fortunately, that improvement in taste which is rapidly
abolishing the circuitous main approach or drive through a
park has effected other advantageous changes. It is no
longer necessary to have those two small lodges, one upon
either side of the first gateway, which were built from a
love of symmetry, and often made accommodation difficult
within the cottages themselves. Now every architect
devises one comfortable, well-built lodge or cottage for the
old pensioner, and, as she smilingly holds open the gate
that we may enter the park, the road usually takes us past
fine old trees, perhaps with bracken beneath them, through
which come bounding a graceful herd of deer.

ENTRANCES 5

It gives variety if the road, besides passing through these
open spaces of park, is carried, at intervals, within the pro-
tecting shadow of trees. Perhaps the most stately approach
is one similar to that which was planted by the well-known
Lord Chesterfield in the Phcenix Park at the time when he
was Lord-Lieutenant of Ireland. A wide grass-margin
is upon either side of the road, and then come tall trees,
planted in irregular groups, yet maintaining a course which
runs more or less parallel with the road, so that, while the
impression remains that it is an avenue, the trees are far

FIG. 2.

enough away to cause no interference with the road itself.
They are in alternate groups of five and eight or nine trees,
and plenty of space is left for their full development.
Through the occasional breaks in their grouping a fine
view is obtained of the house itself before we arrive at
the forecourt or inner entrance that gives a further
feeling of seclusion to the house and garden.

For small and less stately places, as we approach the
house a light touch is wanted ; and here it looks well to
have the main road sunk rather below the ground upon
either side. The idea is one often seen in Italy, where
apple-trees are planted at intervals along the raised banks,
and vines are carried in garlands beneath them. In

6 GARDENS : THEIR FORM AND DESIGN

England we can plant ampelopsis or other creepers, and
carry these from the rose-trees or the shrubs we may
prefer to have in the place of apple-trees. These garlands
can be led in any direction, and are fastened to willow-
boughs, and trained upon them in any shape or fancy
that is required.

Another good way of making innumerable frames to
pretty garden-pictures is to have an avenue or a single
row of lime-trees, and so train their branches as to form

• >;" '':-- v "- -----

FIG. 3.

oblong or oval openings, through which brightly coloured
herbaceous plants are seen.

In forming any kind of approach to an important feature
such as a house, although a very circuitous road is to be
avoided, it is necessary to follow, if possible, the outline
of a hill-side, should one be near. A straight avenue,
without a bend in it, would probably be out of keeping
with the rounded lines of the hill. There is a garden in
the Midlands of England where an avenue of tall Cupressus
macrocarpa lutea has been planted to lead with a semi-
circular bend to a shadow-house beneath the hill. It
probably was copied from a similar one in Italy, for the
proportion of the width of the road has been considered

ENTRANCES 7

with a view to good effect when the trees should reach
their full height (Fig. 3), and, now that they are tall,
the whole is upon a magnificent scale.

One of the most interesting points in garden design is
the way in which the same tree or plant, treated differ-
ently, will completely alter the picture we paint. In
Italy cypress-trees are not always allowed to soar to their
full height. In a garden just outside Siena is a straight
avenue, very formal in style, where these trees are planted
at intervals amidst a hedge of yew and other green bushes ;
but they are cut to the shape shown (Fig. 4). Although

FIG. 4.

it may be considered by some very barbarous to have
destroyed their natural growth, the style suits the villa
to which they lead, and in between each dark-green
square we get wonderful distant views over that great
fruitful and luxuriant country, the dark foliage of the
trees in the foreground making the hills upon the skyline
look even farther from us than they would otherwise
appear.

For a humble entrance to a small house it is fresh and
delicious to have a bank of roses, such as Madame Abel
Chatenay, upon either side of a walk, and behind them
tall bushes of syringa which guide the eye to the house at
the end. This should, perhaps, be for one of the garden-
entrances, not for the main approach, because it is

8

GARDENS: THEIR FORM AND DESIGN

essential that an entrance which is used in winter and
summer alike should always be at its best. Quiet green
colouring of grass, a few evergreen shrubs, and grey stone
paths look well at any time of year, and can be enlivened
by pots of bright flowers or green wooden tubs of pink
ivy-leafed geraniums. In the forecourt that leads to one
of the show places of England, a tall row of these flowers,

grown upon tripods
springing from very
large dark - green
wooden boxes, looks
well. They stand upon
a wide margin of turf
on either side of the
drive, and, seen through
the magnificent gold
and black iron gates of
the walled-in forecourt,
they form a beautiful
line of pink colour to
direct the eye to the grey stone house.

The diagram has lines well suited to the entrance-
forecourt of a large house. The curved ends are good for
carriages and motors to glide round easily, and it is a
simple pattern combined with variety.

There is at the present day a very decided feeling
against a circular approach immediately near a house,
and, if the lie of the ground makes this a necessity, the
circle can usually be concealed by the introduction of
straight lines and right angles as it nears the house's
formal lines. There are, of course, exceptions to this
rule, and a very typical one is the circular drive in
the midst of the ruined walls of Warwick Castle. Any
other shape would have been unwise here, as the walls
themselves make the outline, arid it is well to follow the

pIG

ENTRANCES 9

rule that the drive or approach should adapt itself to the
architectural lines of the house.

For a public office forecourt, where paths are required
to lead in different directions, and where no actual planting
is desirable because of the expense and labour of upkeep,
Fig. 6 is good. It is taken from a Charles II. design,
and the narrow paths are all paved with smooth stones,
whilst in between cobbles are laid, and thus make
a good pattern to
the whole. It can
be repeated twice
or four times, ac-
cording to the size
of the forecourt ;
and, to give height FIG. 6.

and variety, tubs

with clipped bay-trees can form sentry lines wherever
they are needed. About this date we find obelisks of
stone, with perhaps some quaint heraldic device carved
upon them, used to mark the entrances to such courts.

One of the most striking paved inner courts is at
H addon Hall, where, after passing through the wide
archway built in the thick outer walls, we find a square
paved courtyard sloping down from the house itself to the
entrance. There are buildings all round, and the only
flower-border is at the side of the house, filled in autumn
with tall bright hollyhocks. Big slabs of paving are
everywhere ; but here and there stone gutters are
arranged to carry off surplus moisture after rain. The
absolute simplicity of this court is what makes its charm.

Fig. 7 shows a somewhat French design for courts
which lead to the garden side of a large house. These
are not intended for carriages, but the three wide circles,
outlined by stone balustrades or low walls, upon which
stand fine stone urns or flower-pots filled with gay flowers,

io GARDENS: THEIR FORM AND DESIGN

would form a charming approach in some positions, where
other surrounding circular lines call for repetition. The
spacing of them allows an arrangement of formal gardens
upon either side.

In large places it is not only the main carriage approach
that has to be considered. This, in fact, as it nears the

,=*

FIG, 7.

hcoise often requires to be very simply treated. Above
all, too much space should not be encroached upon round
the house for the exit to the stables beyond, because this
does away with privacy. Upon the garden side, such wide
stately walks as are shown in Fig. 7 are very necessary
where large parties are invited and many people have to
be given space for circulating. Then, too, entrances to

ENTRANCES 11

surprise gardens should be carefully studied. The variety
and dignity of these is a great adjunct to garden
decoration.

In an old Elizabethan garden the brick piers that
support a handsome wrought-iron gateway are made
interesting by having an heraldic device worked into

FIG. 8.

them. In one case it is a St. Andrew's Cross (Fig. 8),
the pattern of which being shown by leaving out bricks
here and there to form the decoration. Upon the summit
of the piers are quaint little curved roofs with a small ball
upon each, which remind us in shape of the straw garden-
hats that are preserved in some old families, and said to
have been left as legacies by the maiden queen of

12 GARDENS : THEIR FORM AND DESIGN

England who did the house the great honour of sleeping
beneath its roof.

The modern idea of piers to support a gateway is one
revived from old Italian days. These piers consist of
tiles embedded in cement, which rest
one upon the other. A terra-cotta
vase or trophy upon the top is an
additional decoration. This style of
entrance looks well either when lead-
ing from the road to a small house,
or, in larger places, when leading into
a surprise flower-garden (Fig. 9).

The same idea is also adapted for
the pillars which support a wooden
pergola.

In the north of France the walls
that surround gardens are usually built
of flints, which are very plentiful, and
therefore can be used freely. To
relieve the white glare there is a
roof-like finish of small red tiles to
the wall. Sometimes the walls are
whitewashed over, and then the red
tiles show still more effectively, and
are a good means of keeping the
rain-water well away from the wall
(Fig. 10). Another simple but decor-
ative French pier is Fig. u, built
with red bricks inserted to give a
colour pattern to rough-cast wall.

What varying phases of style can be traced in gate-
ways themselves ! Very similar to the illustration on
p. 29 is what is perhaps one of the earliest entrances
to a ladies' small herb-garden of the Middle Ages,
with its slender uprights and Gothic pointed archway,

FIG. 9. — PILLAR MADE OF
ROOFING TILES BUILT
ONE ON TOP OF THE

OTHER.

FIG. 10.

Red tiles ; B, flint wall.

ENTRANCES 13

supported upon either side by a trellis fence. This
would form a very perfect light support to roses,
which would revel in the freedom it would allow to their
growth.

Then Fig. 12 shows the kind
of gatehouse entrance which led
formerly to the inner forecourt in
front of a large house. There is
something flavouring still of de-
fence in these stout oak doors
that swing back, and we almost
fancy a portcullis may be hidden
above, to crash down upon the
foe as he steps beneath the arch-
way.

A lighter form is Fig. 13, which leads often to an
Italian villa, and is picturesque as well as practical. The

small sloping roof that
projects above the visitor
Bricks *s a refuge from sun and
rain should the servants
be long in answering the
bell.

When woodwork was
more the fashion than
stones or bricks, so ornate
an entrance as Fig. 14
was used. This was at
a time when taste was
somewhat too florid, and
although it is of interest

historically—and doubly so because no originals exist
any longer — it is not a model to be copied.

Where a very simple gate, and yet one with a certain
originality, is sought, Fig. 15 is good in design; but it

\J3ricks

FIG. ii.
A, Rough-cast.

14 GARDENS : THEIR FORM AND DESIGN

would be best with a less high centre, as it is not strong
unless supported by stout cross-pieces at the back.

'

FIG. 12.

passed in review
so far are suited
more especially
to gardens where
there is a degree
of formality
within. Let us
now consider a
position where a
wood has been
• partly converted
into a garden,
and necessarily

the entrance itself should reflect to a certain degree the
rural scene. Here the simplicity of Fig. 16, which
can be either modified or
elaborated upon as the
immediate surroundings
require, would be charm-
ing. A beautiful grey-blue
wistaria, grown upon the
wooden uprights and
trained across the main
arch, would lead well into
the sombre green of a
woodland scene beyond.

Where skill comes in
above all is in the selec-
tion of a suitable frame-
work for the picture
disclosed the moment we are upon the threshold of the

FIG. 13.

ENTRANCES 15

entrance. As the painter studies the old gold or the
dark wooden frame that will enhance the beauty of his
oil-colour painting without detracting from it by glitter

•*',

i

iT"

N

i

FIG. 14.

or detail, so the garden designer has to consider the
supporting piers, the shape and colour of doors or iron
gateways, in order that when the herbaceous border
within is disclosed in all its
beauty of tall slender yellow
and pink hollyhock, yellow
achillea, and pale mallows,
the picture is made more
perfect by a proper and fit-
ting setting. Perhaps no FIG. 15.
entrance has approached the

picture-frame idea more nearly than the modern example,
where a circular opening in a high wall leads from a quiet
reflective garden to one where there is a lovely wide
herbaceous border upon either side of the path. As we
look through the iron gateway a longing comes to

16 GARDENS: THEIR FORM AND DESIGN

penetrate and see these wonderful colours more closely.
Then it is, when conscious of a growing curiosity, when

FIG. 16.

A, Wistaria grown over the arch ; B, benches.

filled with intense desire to look farther, that we
know the right entrance has been placed in suitable
surroundings.

GARDIINS

IT is not every author who feels inspired to write out
of doors, under the free, blue sky of heaven. One
man complains that his thoughts wander ; they flit as
lightly as the white butterfly which he is compelled to
watch, as it moves from one great golden gorse-bush to
another. The next writer who is questioned says that
the rustle of wind in the fir-trees, instead of having a
soothing, happy effect, and bringing to mind the gentle
ebb of sea waves upon a pebbled beach, fills his soul with
melancholy. More general, however, is the complaint
that it is difficult to find just the quiet, protected, silent
spot where undisturbed flight can be given to fancy.

Surely, then, every garden should hold many such
hedged-in, peaceful retreats, where no sound other than
the soft cooing of doves or the faint call of the cuckoo
penetrates. Cardinal Newman describes what perhaps
every active-minded man would have a garden be : "By
a garden is meant mystically a place of spiritual repose,
stillness, peace, refreshment, delight." A place, in short,
where all the small pettinesses of daily life do not pene-
trate, where peace, such as we on earth understand it,
can be obtained.

17 2

iS GARDENS : THEIR FORM AND DESIGN

Who has not been tried by small annoyances, such as
excessive heat of the sun, stinging gnats, or blustering
winds that send papers hopelessly scattered across the
lawn? All these little troubles tend to make a morning's
writing out of doors seem like an eternity of hindrances.
We tolerate them in the open country, where we have
perhaps no more than the deep, warm, protecting heather
into which we can fling ourselves for safety ; but in a
garden, where the careful thought of many has been

brought to bear upon
all creature - comforts,
we are more exacting.

All gardens, there-
fore, should have some
hedged - in, completely
sheltered part. It should
be so shaped that
shadow can be had at
every moment in the
day, while sunshine and
protection from wind can both, also be gained, when
wanted upon cold stormy days.

For examples of such shut-in, picturesque gardens we
have but to look at those given in old Italian and Swedish
pictures. In Italy, it is the sun that is the enemy. In
Sweden, rough winds sweep by; and so these two
countries seem to have brought the study of hedged-in
gardens to a high degree of perfection.

There is a book called " Suecia Antiqua et Moderna,"
which can be seen in the Engraving Department of the
Victoria and Albert Museum. In it are many gardens
similar to Fig. 17. The outline of shaded lines repre-
sents a hedge, which surrounds groups of shrubs and also,
as at A, provides a pleasant circular protection for seats.
In the old-fashioned prints these hedges are all shown

B
FIG. 17.

A , Paths ; B, surrounding hedge ; C, beds.

as

HEDGED-IN GARDENS 19

very tall, and we rather wonder how the trees and shrubs
within got sufficient sun and air to grow. The plans
are equally suited either to a dwarf box-edging or to a
three-foot yew-hedge, which would only give sufficient
protection to young trees whilst they were growing up.

Certainly the plan (Fig. 17) is cleverly designed to give
plenty of shadow and to protect from cutting winds.

Another formal garden is Fig. 18, where niches have
been cut in the high hedge
for statues, while others near
by are for seats. This garden
is indeed closely protected,
and we can imagine the delight

,. . . . i i i • i . r IG. Io.

of sitting with a book within

A, Trees and shrubs ; B, paths.

its warm green yew-hedges,

where one or two very perfect figures hewn out of marble

take us back in thought to Greece and Rome.

Many are the gardens in old books pictured with tall
recesses in the green hedges prepared to receive some
lovely statue. The* " Jardin des Simples a Cimsello "
shows these with domed arches of yew, and pretty little
knobs or devices clipped in the roof of each archway.
Some of the tall narrow arches led to other gardens,
apparently opening from the circular one in which were
the statues.

So much has been said by those in authority against
topiary work and stiff hedge-planting that it is with
extreme caution we mention so frivolous a thing as hedge
ornamentation. It is unlikely, however, that the man of
letters or the business man who seeks rest in a garden
will object strongly to just a touch of such childishness
here and there — something that will remind him a little
of an old-world garden of the early seventeenth century,
before the craze for clipping had brought Pope's " St.
George" and "Adam and Eve" to be bid for at an

20 GARDENS: THEIR FORM AND DESIGN

auction. Whether a garden-lover be for " formal " or for
" natural " style, or whether his views, as we sincerely
hope, are broad enough to support an even mixture of
both, we feel sure he will find most repose in a hedged-
in garden of formal style. We can all make the experi-
ment of choosing between the alleys of that wonderful
formal garden at Versailles and its " natural" neighbour,
the Petit Trianon. Which of these two gardens is the
one in which we can best find sheltered nooks and
corners ? Most decidedly in cold and windy weather the
formal avenues supply protection that is hard to beat.
Then, again, if hot sun be the trouble, we gain shade more
easily in the long nut-and-beech-hedged walks than where
we rely only upon one or two large specimen trees. We
have not to change position so often as we do when out
more or less in that open country which the " natural "
style endeavours to represent. Therefore, for repose, let
us think of a few more formal hedged-in gardens.

Often in old places, where there is ample space for
different styles of small gardens, we find that which in a
house would go by the name of anteroom or passage. It
is usually long and narrow, with a high yew or holly hedge
to outline the boundary. Two handsome wrought-iron
gates give admission to it, and a vista is shown beyond of
a straight path, which leads to the exit through an open-
ing in the opposite hedge. Probably it will be best to have
no flowers, only grass, a paved walk, and a few good
statues. This will lead up quietly to something excep-
tional, which we are guided by curiosity to discover in a
garden beyond. A great blaze of flower colour in another
garden comes as an additional surprise and delight, when
we reach it by this quiet and green passage-garden. It
is as if this restful interlude gave us time to collect our
forces for a just appreciation of the dazzling beauty beyond.

Where space is of consequence and every inch has to

HEDGED-IN GARDENS

21

be utilized for colour, it will look well to have the same
proportions as the above, but to treat it as in Fig. 19.
Make special note, however, that a path must be placed
next to the high hedge, because, if the latter be of a
robust and greedy nature, it will impoverish any plants
that are put too close to it.

FIG. 19.

In a wind-swept garden, where it is difficult to protect
flowers sufficiently from cold winds, Fig. 20 is practical,
and also looks well. For preference we should choose a
hedge other than yew, because the projecting wings of the
hedge that forms recesses for flowers are so close to them
that they would rob all else of nourishment. Beech, nut,
or sweet-briar has a good effect. Near the coast, escallonia
or fuchsia may be chosen.

22 GARDENS : THEIR FORM AND DESIGN

A passage-garden could also have windows cut in the
hedges which form its sides. These could be either tall
and narrow or oval-shaped. The height of the hedges, if
varied and cut lower between the spaces allotted to the
windows, would enable one to see the tops of pink may-
trees planted in the garden beyond. The windows would
afford glimpses of many coloured herbaceous flowers, and
in this way suitable dark-green frames would be made to

7.':-V. .•;:;•• '~^:^*..^*r:-:''";:.:*-'°

:.\^r ."-^.. • -JMJ,, p.. ,*-<, ; -y. .-•••

9:

Yew Hedges

FIG. 20.
B, Recesses for flowers ; C, paved walk ; D, grass walk.

show off pretty flower pictures. Such hedges were often
in old gardens termed " Palissades de Theatre."

In these days of pastoral plays and pageants, why are
hedges not planted more to form an out-of-door theatre ?
Yew and other hedges grow very quickly if properly
treated ; and even should the garden not often be used as a
stage the shape is good, and the different blocks of green
arranged with a view to entrances and exits are suitable
places for seats. Then, too, the little stage would be

HEDGED-IN GARDENS 23

nice for a band on garden-party days. Country fairs in
fancy dress would have a good background, and the
circular open space intended for the audience would give
room for a large number of people to move about as they
wander from one gaily decked booth to another.

In past years we came upon such charming theatres
when we explored old German gardens, and if we do not

FIG. 21. — A GARDEN THEATRE.

quickly copy the pictures that we have of them, we shall
lose these records of what once gave pleasure to many.

HEDGES

In a large and very formal garden, to make the outskirts
more architectural than if it only had a nut or beech hedge

24 GARDENS: THEIR FORM AND DESIGN

clipped square, it is possible to produce an effect similar
to that shown in the picture (Fig. 22).

Here there are at intervals hedges clipped square, but
supported by two pedestals of treillage on either side.
An ornamental pot appears to stand upon each of these
pedestals.

One wonders whether blustering gales ever sent these

pots flying, for they
cannot have been very
practical, although they
no doubt were orna-
mental.

A way out of the dif-
ficulty might be to form
the pots of treillage work,
and thus have them
fixed to the pedestals.

Then creepers planted
below could be trained
up inside the treillage frames, and would appear as if
growing in the ornamental pots on the top. This was
often done in old Dutch gardens. In front of the hedge
another ornamental pot stands upon the ground, and
even if the other two up aloft were dispensed with, this
one might remain.

The hedged-in gardens up to now discussed are
intended for the grounds of large country places. Let us
consider what we can do for small gardens.

The sunk garden of Kensington Palace furnishes us
with two most charming hedge designs. The restful lines
of the first, made of privet, or, to use a preferable and
prettier old name, primprint (from printemps), can be
adapted to large or small gardens. It is merely a question
of proportion. Here, the lines of the Palace being some-
what wide and low, the hedge has been cut to correspond.

FIG. 22.

HEDGED-IN GARDENS 25

If a building were high and not very wide the hedge could
be shaped like it. Then the little picture-frames made by
the arched lime-trees would be nice in an old-fashioned
garden, where though a high wall with "grilles " furnished
too great an expense, yet a view into another garden was
wanted.

For a fence, where a simple but somewhat original
design is required, Fig. 23 would be suitable. A good
row of the Cardinal willow,
or else of sweet-briar behind
it, would look well ; formality
would be secured by means FlG

of the quaintly shaped

pillars, and the round balls upon the subordinate uprights
could be gilt, in order to brighten the effect.

At the seaside, particularly along the East Coast, we
notice hedges of tamarisk. They are excellent, because
the green, although not dark, is yet pleasing, and any
shrub that flourishes so well as this near the sea is a
useful addition to wind-swept gardens. The variety
Tamarbc ktspanica has a rather pretty pink flower. T.
gallica is a nice kind, and so is the summer-flowering T.
estevollis.

Other good trees for the seaside, to form sheltering
belts or hedges, are willows, poplars, privet, euonymus,
escallonia, Garrya and Austrian pines. It is not
necessary to plant a continuous hedge of one kind of
bush only. An irregular one, in which are tamarisk,
sumach, snowberry, euonymus, yew, and many other
plants, gives interest. In front of this a wide border could
contain many herbaceous plants and annuals, and things
like the dwarf cenothera, Sedum spurium, would be
pleasant in it. Such a garden might have, too, Poly-
gonwn Mo Hi, the variegated Kerria, A bullion vitifolium^
and Solanum crispum. The difficulty in all suggestions

FIG. 24.

26 GARDENS: THEIR FORM AND DESIGN

for the garden is to confine them to a few names alone,
for we see so many beautiful things that call for notice.

Any remarks upon natural garden-hedges lead us to
note the varying roadside ones which we meet with in
different English counties. All have hidden meaning,

from the ones that are cut
pointed in shape to allow the
heavy snowfalls of the Mid-
lands to slip gently off them,
to the equivalent in Surrey —
the wild, sandy banks with
their golden spring effect of
gorse, followed almost imme-
diately by the still more lovely
pink and purple hues of
heather. These trifling differences, so easily impressed
upon the memory of a passer-by, are often helpful as
regards colour and line in the garden. They should be
as carefully treasured and noted as any differences of
tying back which can be learnt from other countries.
This is shown in Fig. 24. Not only do the Japanese
teach us that a hedge of bamboos looks well against a
further dark-green background, but we learn from them
how to restrain these beautiful and graceful canes, by con-
trolling them merely with stems of the same plant. Were
they tightly tied in most of their grace would be lost.

Therefore, a true garden designer, who is also a lover of
Nature, is ever watchful, always hoping for new suggestion.
It may come to him as he walks along a narrow
country lane in winter, where the brown bracken lingers
to give colour below the hedgerow ; or in summer, when
he wends his way between honeysuckle and clematis
festooned byways — a deep impression of beautiful form
or colour is perhaps then made upon his mind, and this
can be reproduced later in some garden scene.

SURPRISE GARDENS

O we not all feel at times an almost childlike
excitement and pleasure when an unexpected
present arrives ? We wonder, as with trembling
fingers we untie the pale blue silk cord round it, what
this snow-white paper packet may contain ! So, too, the
true garden-lover feels when about to see a garden
hitherto unknown to him.

What will it contain ? How has it been planted ?
Are there natural groups of trees and shrubs without
formality, or will there be only straight lines and
architectural features ? Will it be perhaps a purely
botanical garden, with rare and interesting, but not
necessarily beautiful, plants, or will it be a " grower's "
garden, one for profit, not for ornament ?

So he meditates upon the way, and hardly knows
which kind he prefers, for he loves all. His ideal, the
perfect garden of dreams, would be so carefully designed
that all plants, all interests, all pursuits, would flourish
with ease within its boundaries, and the business of food
production would be encouraged quite as much as the
search after the beautiful. Certain he is, if he be a real
gardener, that something can be learnt from every

27

28 GARDENS : THEIR FORM AND DESIGN

garden. There is no small cottage garden, no child's
plot of flowers that fails to teach, if only he will learn.
Such lessons are the greatest gifts, and bring true and
lasting joy.

Thus, too, as we wander round large gardens, what
pleasure comes from small surprises hidden behind some
dense yew-hedge or within a treillage gallery! Some-
thing unexpected, mysterious — this is what shows the
skill of a garden designer. It may be only twelve tall
wooden uprights, cut square, supporting a latticed roof
of wood. We call it a shadow arbour, but the children
say it is a " bird-cage,'1 because little tits like to nest
within the shelter of it. Whatever its real name be,
the mere fact of its having a doorway, forming a frame
to something beyond, makes us wish to explore farther.
In such simple ways incident is made, and the more such
surprises we can think out, the more interesting our
gardens will be.

Surprise gardens should be skilfully arranged to lead
one into another, just as our rooms are so ordered to
take us from hall through anteroom and staircase to a
before-dinner drawing-room. Other larger rooms follow,
until we reach the chief feature of the house, the long
narrow gallery, and from it we wander to the great
library. There should be nothing abrupt or sudden in
transition from one to the other. So should it be in a
large garden.

Sometimes we grow suddenly weary in a house,
because we are hurried from a Marie Antoinette room
to one furnished and decorated in the early German or
Dutch style. In themselves, the objects are all beautiful,
but the fact of having to leap over two or three centuries
in imagination, as we cross the threshold of each room,
leaves us in a state of exhaustion similar to that which
we feel after a visit to the White City.

SURPRISE GARDENS

29

A SUNK ROSE-GARDEN.

30 GARDENS: THEIR FORM AND DESIGN

There are gardens in which we experience the same
tired feeling. This happens when, though much imagina-
tion has been employed, there has been a want of
dignified and measured transition between the surprises
that have been planned. In making them, the first
considerations should be the existing lie of the land and
how, with least alteration of natural features, secrecy and
mystery can be introduced.

From some one central feature, such as a broad terrace
or a parterre, we should be led on, through tempting arch-
ways, berceau walks, to explore hidden treasure gardens
opening from it. There should be no hurry. Winding
walks, hedges, maybe a narrow shadow-garden of grass
and yew alone, free of flowers, would take us restfully
from one surprise garden to another. Unconsciously,
without a guide, curiosity would lead us on. With the
poet, we should go by "a shaded pathway, where my feet
bruised mint and fennel savouring, to a secluded lawn " ;
and then, through a thick hedge, and down a flight of
steps, come to what goes by the name of the " Sunk
Garden."

The mere fact of its being below the level of other
ground, and enclosed, gives it an additional feeling of
secrecy. Therefore, in discoursing upon surprise gardens,
let us consider first that small secret enclosure which we
know so well in old illuminated missals.

A dark oak doorway, handsome in ornament, leads
down stone steps to a square, very deeply sunk garden.
It appears, perhaps, doubly secretive and hidden, because
not only is there a red brick wall built all round, but on
the top of this wide wall, by means of a sunken earth bed
in the brickwork, is planted a neat evergreen hedge.
Behind this again, tall red rose-bushes clamber up and
hefp still further to screen the real garden.

Close by the oak doorway, upon either side of it, and

SURPRISE GARDENS 31

afterwards joining on to the evergreen hedge, is an oak
trellis. The squares of it appear to be filled in with
narrow, lozenge-shaped wirework, in order that no
adventurous four-footed animal can gain access easily.

There are steps near the centre, which lead up to the
wall, so that he who wishes may gaze through the tall
rose-bushes at the country beyond. He will scarcely
weary, though, of the small sunk lawn in the garden itself.

FIG. 25.
A, Gallery of treillage ; B, temples in gallery.

It will be used only on warm days, when with a book we
long for cool grass, shadow, and stillness, and when all
else is of little consequence.

Another such peaceful, cloistral spot is Fig. 25. The
French description alone is restful, did we not even
trouble to decipher the somewhat complicated-looking
plan. " Cloitre couvert de berceaux de treillage, entoure"
de tapis de gazon " — such is the explanation given. We
feel that no sound of outer world could penetrate the
stillness of this retreat.

32 GARDENS: THEIR FORM AND DESIGN

The gallery of treillage could be so arranged as to
be dense enough to let us walk and ponder here, even
upon a rainy day. The four little temples can have small
oval or circular windows ; thus we can look down upon
the small and restful grass-plot in the centre. The sur-
rounding treillage will keep off a considerable amount of

sunshine, and it may therefore be
considered an absolute shadow
garden.

Beauty depends largely upon
the varying curves and outlines
of the steps and lawns ; all are
graceful, restrained, and there-
fore restful.

We do not always want a
garden without flowers, and so
we will pass on to one intended
It is a circular one, and is near the

FIG. 26.

for a gayer mood,
sea (Fig. 26).

The house stands upon a higher level (H), and looks
down upon the garden. The paths and many of the beds
are outlined by tall posts, and have festoons and creepers
hanging from them. This gives lightness to the whole,
which is good.

As we walk down the steps at I we find the grass walk
(F). Upon our right, at G, is a raised bed of varied
shrubs, and rock-plants nestle in the wall below them,
whilst at E are tall herbaceous plants.

Then we come to a path (D), which, to give variety, is
paved. From it we can see well the pale pink water-lilies
that float in the tank (A). Bright colour is in the centre
of this garden, in beds (C), and these, being formal in
shape, are gay with bedding plants.

It is not a large garden, but so clever is the arrange-
ment that it seems a happy home for all kinds of plants.

SURPRISE GARDENS 33

We have flowering shrubs, alpines upon the banks, roses
on posts, and the water-lilies in their tank. Round the
whole, to protect from rough sea-breezes, is a hedge of
tamarisk (71 gallica). It has graceful, feathery foliage
and a pretty pink flower.

The important thing to remember in making such a
garden is to have wide enough beds, and we should allow
ample room in them for the growth of shrubs. This applies
also to the width of paths. Should they look unnaturally
wide at first, the remedy will soon come, for plants such
as broom and phlomis always encroach upon the quarters
originally allotted to them, and quickly overhang the paths.

We come now to a sunk garden of a more formal type
(Fig. 27). Steps lead down, through a thickly planted
border of flowering shrubs (C, D), to this small, oval piece
of ground. A thatched-roof shadow-house is where we
sit to view the long narrow beds which make this garden
bright (A). They are suited to herbaceous plants if
bedding out be not approved of. Nothing would look
better than groups of spring, summer, and autumn plants,
such as myosotis, delphiniums, and Japanese anemones.
By devoting each alternate bed to spring, summer, and
autumn plants, a succession of colour can be kept up.
Between the beds is either grass or gravel.

We may point out, in alluding to a succession of flowers,
how much surprise gardens help in this respect. To have
a distinct garden for each month of the year is a delight-
ful idea. We know that a famous lady gardener adopts
this plan, and others should do likewise. In addition, it
would be of interest to select our favourite designs for
surprise gardens, and choose the shape and kind most
suited to the flowers that we intend for each particular
season. In the height of summer, when we may expect
warm sunshine, we would have a garden with shadow-
houses and treillage, where we could seek shade. From

3

34 GARDENS: THEIR FORM AND DESIGN

here, too, as we sit in shadow, we could have views of
Madonna lilies and delphiniums, which should be in bloom
about this time.

Another garden, with grey paved walks and formal
flower-borders, would have pink and white flowers alone.
Silver-grey foliage, and great clumps of misty gypsophila

L

**'"?>

/&*

¥

FIG 27.

would keep it cool-looking. A small woodland bit might
have ferns and spring bulbs in masses between them, so
that thus two seasons of beauty could be enjoyed upon one
piece of ground.

For autumn we should wish for enclosed gardens and
thatched arbours, so that when we watched the greys and
lilacs of Michaelmas daisies and the last bright yellow

SURPRISE GARDENS 35

gleam of sunflowers we might be protected from the
blasts of driving wind. If such a plan be followed, in a
large garden, there is always one bit that is effective and
at its best when others wane.

Sometimes people wish to design some simple hedged-
in surprise garden without calling in expert advice. An

COURTYARD WITH HEART-SHAPED BEDS.
A, Tall trees ; D, well-head.

easy way of arriving at a successful shape is to decide
upon an initial letter and to plant a surrounding hedge to
look like it. The letters M and L lend themselves well
to such a device. Another plan is to plant a yew-hedge
in the shape of a heart, and to have within a gay flower-
border, full of bright herbaceous colours, in the form of
whatever letter is chosen.

36 GARDENS : THEIR FORM AND DESIGN

If we think of the many different outlines which ancient
initial letters give us we shall be surprised to find how
many pretty gardens we can invent. Each one will
have a tall (seven or eight feet high) surrounding yew-
hedge. The entrance to the garden, the paths and
borders within, can be arranged as fancy pleases.

Heart-shaped beds are often used in Italy, and in that
romantic garden of San Francesco
at Siena we see them in the enclosed
court, as we look from under the
covered walk surrounding it. Time
has perhaps helped this garden
somewhat, and the slight irregu-
larity of the whole is pleasing, and
prevents an impression of too great
formality. The height given by the
B> trees and by the well-head is good ;
smaller pots stand here! for a courtyard garden, if kept flat,

C, hedge of box. . J

is apt to become monotonous.

Height of colour above the ground is well understood by
Italians. We see this in their ornamental pot-gardens.
Often a large flat terrace of gravel is converted into a
lovely flower-garden of varying height without a single
flower-bed being cut in it. To give strength to the design
according to which the flower-pots are placed, clipped
box-hedges are sometimes planted in rings or ovals.
We see this in Fig. 28. Inside the two-foot high rings
of dark green formed by the box stand varying heights
of terra-cotta pots. They are graduated in heights and
size, so that the highest, with bright yellow azaleas in
them (A), stand up above the others in the centre of the
circle. Repetitions of the group shown in the plan upon
the wide terrace near the house are very effective.
Plenty of space is left between each group for walking
and sitting, and the colours of the flowers in the orna-

SURPRISE GARDENS

37

mental pots should be carefully chosen to go well with
them and with the colour of the house.

This is another point which needs thought in planning
surprise gardens. It is as important to choose the right
colour for a particular garden as it is to lead on from soft
coloured gardens to the increased strength and brilliancy
of hue in the ones we pass to later. A very restful
garden, designed by a past student of Glynde College, is
composed entirely of grey, blue, and green. It is beside
a lake. A small stone sundial, a few paved walks, grey
stone bird-baths, and simple garden seats, are the only
ornaments. It is not a very sunny garden, and so the
soft colours of ceonothus, rosemary, lavender, provide a
restful background to the bright blues of salvias and
delphiniums. Thus it forms a suitable one from which
to start upon the tour of inspection, for gayer, more
sparkling flower gems glisten in other surprise gardens
that it leads to.

In this way we see what scope surprise gardens give to
the imagination, and how we can wander through varying
scenes, by rose-arch, sunk garden, crushing sweet-smelling
thyme and burnet beneath our feet, back to the formal
terrace that we started from.

FORAMJL FLOWER BEDS

IN making use of the expression "formal" in connection
with flower-beds, it is necessary to point out two
things. The opinion of the writer is, that formality
in a garden should only be found in the immediate
neighbourhood of a house.

When we get far from buildings and the straight lines
which they bring with them, all hedges, paths, and flower-
beds should assume irregular lines, so long as they are
natural ones and in no sense exaggerated. For we have
to guard as much against the circuitous and exaggeratedly
deviating carriage drive as against the star-shaped, mosaic-
planted flower-bed. Both are equally undesirable if in any
sense overdone. They are sometimes allowable when
carried out in moderation and placed in proper surround-
ings. Even those who are strongly opposed to formality
of any kind in a garden will agree that in the vicinity of a
house, where the lines of necessity are straight and the
walls are at right angles, it is more restful to have paths,
hedges, and beds in accord with these lines. When
pictures are hung upon a wall, we know that if all the
frames follow one line the room is restful. So it is in a
garden.

The next point to consider is, that by a " formal flower-
s'

FORMAL FLOWER BEDS 39

bed " we imply only one that is formal in outline, not one
made formal through the arrangement of the plants in it.

There still remain in England some few — fortunately
very few — gardens where geraniums and calceolarias are
bedded out and look the picture of regimental discipline.
The front ranks are all the same medium height, which
enables the next row exactly to peep over the heads of
lower ones. There was a time, not so very long ago,
when this style of planting was greatly in vogue, and it is
probably to Mr. William Robinson and some few pioneers
of the new school of garden craft that we owe its almost
total abolition. Now it is only where somewhat unedu-
cated people have the management of a place that flowers
are so planted.

In considering formal beds, let us at once banish from
our minds the idea that they are to be made in every garden
or in any part of a suitable garden. Where a house has
been placed upon an open gorse common, the wish should
be to avoid all formality. A garden in a firwood, too,
would look best left as natural as possible. If, however, a
large and imposing house calls for lines that go with it,
flower-beds near the building can be formal in shape,
though very seldom, if ever, planted in patterns. The
ideal effect may be seen near a very large, low-built, and
stately house. In one case, immediately in front of
the house, the yew hedges that formed guiding lines to
the main paths and to the different plots of ground were
so shaped that, instead of being straight on the top, they
had a wave in them. Behind these were four big circular
herbaceous beds, raised so high in the centre — about five
feet from the ground— -that the bright flowers in them
could be seen from the house, above the lines of hedge.
Large stones were placed here to support the beds, and
to form stepping-stones for those who wished to look
minutely at the plants. Each of the circles held one

40 GARDENS : THEIR FORM AND DESIGN

colour, and therefore the yew-hedge surrounded a blue, a
white, a red, and a yellow bed. This pattern can be
repeated either twice or four times, according to the shape
of the ground and the lines required by the scale of the
house. In the garden to which I allude there was a grass
margin on the inside of each hedge, and outside it were
paths.

PARTERRE BEDS

The same style of gardening which we may designate
as parterre bedding could be adopted in Fig. 29, but

perhaps in the central bed it
would look better to have a mul-
berry-tree, or if more formality
be necessary, either a bay-tree
in a handsome orange-pot or a
statue.

Fig. 30 also lends itself to
similar treatment, but the beds
having such distinctly formal out-
lines should not be much raised.

FIG. 29.

Height in this garden would be given by four bay-trees

in tubs, standing where the four dots are. It would

look best if each bed had a colour

and flower of its own — perhaps

pentstemons in one ; in another,

phloxes.

Fig. 31 is very similar; but
some of the beds are larger, and
so tall plants, such as hollyhocks
and sunflowers, would look well
in them.

Fig. 32 is again like the others,
but with a small shade of difference, which may render
it more suitable to one house than to another. Here

FIG. 30.

FORMAL FLOWER BEDS

FIG. 31.

the centre tree should be larger and more important than
the others, and I therefore suggest a clipped Portugal
laurel. The other trees could be bay-trees, or bright
flowering shrubs, such as lilacs or hydrangeas.

It will be noticed that in all these parterre gardens we
lay stress upon height being intro-
duced in the shape of trees in pots
or tubs. If, for any reason, these
are not chosen, then where the
circles are plant tall climbing roses
upon tripods of wood. It is height
that gives buoyancy to Florentine
and other Italian gardens, and this
is what we so wish to have further
developed in England.

All lovers of past history will be interested to learn
that there are many flower-beds in old gardens which
preserve the same outline as when they were designed

many hundred years ago.
A very ancient moated
grange, which has been
in the possession of the
same family for many
hundred years, still shows
in the centre of the little
square court the arms of
the family represented in
flower-beds as they were
drawn in Charles II.'s
time. Probably the
hidden position of this house, buried as it is in a fir-wood,
far from any main road, saved its beautifully decorated
timber and plaster gables from injury. So, too, for-
gotten by the world, its interesting flower-beds have
been safely handed down to us. Round them is a

FIG. 32.

42 GARDENS : THEIR FORM AND DESIGN

FORMAL FLOWER BEDS

43

glamour of history which the mere fact of having heraldry
carried out in flower-beds could not give. It is the
thought that a garden craftsman of King Charles's time
first cut and shaped them that lends interest.

Another set of formal box-edged beds have preserved
their same outline since the early days of Queen Anne.

FIG. 33.

We trace them in old prints, and it is useful to note that,
as this parterre was intended to be viewed from a height,
the whole ground on which it is laid out slopes upward as
it retreats from the point of vantage. Thus we get the
advantage of raised beds round its outskirts, which enable
us to form the whole pattern. Some of these, if they had
been on level ground, would have been lost to view from
the raised shadow walk upon which we stand. The

44 GARDENS : THEIR FORM AND DESIGN

scarlet geraniums in these beds edged round with box
make a gay and complete parterre (Fig. 33).

Initial letters might well be arranged in a similar way,
so that from the windows of the house we may look down
at any time of year upon a formal, maze-like design of

FIG. 34.

rosemary or box. Where several letters or devices are
shown each should have an evergreen of its own to
represent it. In summer, bright flowers are planted in
between these dwarf green hedges ; and in winter, some

coloured gravel on the paths,
following the outline of box,
will remind us of Thomas
Hill's remarks upon mazes.
Writing in 1568, he said that
a maze could " either be sette
with isope and tyme, or with
winter savery and tyme, for
these do well endure greene.
And there be some which sette
their wayes with lavender,
cotton spite, maierome and
such lyke." Evidently he was in favour of such little
frivolities. But even in his day there was some differ-
ence of opinion, since he adds : " for that mazes and
knottes are made, doe much sette for the garden, which
nevertheless I refer to your discretion, for that not all
persons be of like habilitie." Where a pattern less

FIG. 35.

FORMAL FLOWER BEDS

45

definite than initials or coats-of-arms is preferable Fig. 34
could be arranged.

Fig- 35 *s also good when it is seen from the upper
floor of a house. The windows of an old manor-house
look across the surrounding moat to the high grass bank,
all glittering with " St. Valentine's flower " (crocuses),
"bell blowes" (daffodils), or " Fair Maids of February"
(snowdrops). Above this bank runs a long terrace-walk
parallel with the moat, and above it again are formal
box-edged beds. They slope upwards until they reach
the high yew-hedge that conceals the kitchen garden.
Owing to the slope on which they stand, the outline of
these beds is well seen from the long panelled gallery of
the house.

LARGE PARTERRE GARDENS

Up to now we have considered chiefly plans suitable
or medium-sized houses, where only one parterre garden

is required, and that one has to
be near the house.

For a very large place, where
there is room and ample scope
for many surprise gardens, it
would be charming to come sud-
denly upon one like the follow-
ing: A treillage gallery surrounds
handsome parterre - beds upon
three sides. Paths intersect
these beds, which are outlined
with box, having only one little design in the centre,
a circular space filled with ornamental flower-pots,
graduated in height to form a pattern. All round this
parterre, against the wooden gallery, are other and larger
ornamental pots. This is a garden of which one would
never tire, as the differences in height are numerous, and
thus monotony is impossible.

FIG. 36.

46 GARDENS : THEIR FORM AND DESIGN

Fig. 36 is an excellent plan for a parterre; or it would
also do with ornamental pots alone standing in the circles
depicted.

Fig. 37 shows another of these. But this one is in the
style of an old French garden before the rather more

D

DD

CD!
CJ!

FIG. 37,

elaborate details of Le Notre had succeeded Du Cerceau,
Again, Fig. 38 is an especially bold and handsome
design.

The art of the garden craftsman lies in selecting the
plan best suited to the piece of ground he has to deal

with, and in the foregoing
pages the endeavour has been
made to lay stress upon the
need of studying the lie of
the ground as seen from the
house or orangery. This
study has reached a high
level of excellence in France,
and it is chiefly in that coun-
try that parterre gardens are designed with circular stone
basins for holding water to take the place of flower-beds
The most striking one I ever saw was at Chantilly. From
the high ground in front of the chateau we looked down
upon it. Each water-basin was surrounded by a narrow
border of very fresh green grass, and into that a formal
outline was cut, consisting of a tiny stone walk ; then
came a wider expanse of grass. The whole was one

D

a

FIG ^

FORMAL FLOWER BEDS 47

large geometric design, very beautiful and restful. For a
large house, where there is a lake or ample supply of water,
such a design furnishes a particularly beautiful idea. The
quiet dignity of it, together with the charm of complete
independence of any bedding out, is most worthy of note.
It should be equally attractive either in winter or in
summer ; but, of course, such a garden needs the very
best architectural design, and would be very costly to
carry out unless the ground were level and the stone-
edged basins already in existence.

RESERVE GARDENS

We may now consider, not so much parterres as
gardens of utility, or, in other words, " reserve" gardens,
where the lady of the house
feels that she can go, basket
on arm, and scissors or knife
in hand, to gather what sweet-
smelling plants are wanted for
the house.

We read of a rather charm-
ing custom prevalent amongst
the Japanese, and it would be
interesting to introduce it into
England. The visitors' rooms
in a Japanese house are naturally always carefully decor-
ated, but often scissors and vases are brought to a guest
and he is asked to arrange a flower vase for himself. How
beautifully some artistic people would carry this out ! —
but, on the other hand, how hopelessly many awkward-
handed people would fail ! Anyhow, whether it be for the
sake of one's friends or oneself, it is necessary that
every well-ordered large house should possess a reserve
garden, where it will not matter what is picked, because

FIG. 39.

48 GARDENS : THEIR FORM AND DESIGN

the beds are only kept for this one purpose. The more
formal they are in character the more practical they will
be, and they should also be near a path, so as to be easy
of access (Fig. 39).

As an example of this, Fig. 40 can be repeated four
times round an ornamental feature, for there is no reason
why a reserve garden should be ugly or dreary, as so
often is the case. We are apt to think of long narrow
beds, surrounded by black ash paths, relegated to the
vicinity of the frame-ground and the refuse- heap. Surely
a garden where the chatelaine brings her friends to gather

FIG. 40.

sweet-smelling flowers should have some ornament or
design about it.

The one in the old garden of Bury Rostaing, near
Blois, consists of many small plots, with little baby
cypress- trees at the corners. A square-mesh treillage
pergola surrounds the whole garden, and from here we
can walk in shadow and look through openings at the gay
flowers in the centre (Fig. 41).

Lavender is useful when grown as a hedge for dividing
some of the plots. It looks nice, casts slight shade on
tender young plants, and is useful to cut from for the
linen-presses.

Two very charming terraces in an ancient walled-in
grange garden come to mind The plan was formal,
and the beds very much raised in the centre, which
always gives an important, old- fashioned air. Surround-
ing the garden were tall standard Japanese cherry-trees,

FORMAL FLOWER-BEDS

49

planted at intervals. In between the formal square beds,
and rising out of the turf, were Irish yews and junipers,
carefully wired into the tall narrow shapes that one
notices in Kyp's drawings of old gardens. These were
placed usually in pairs. A plan which shows well how

N4 t°q9 M/TWH1.HJ Irml W*J £51

FIG. 41.

such trees can be utilized to emphasize the design is
Fig. 42.

The reserve garden cannot always be placed in a
square piece of ground. Fig. 43 shows a very simple
design cut out in triangular fashion. As the beds (A, B)
are rather wide, flowering shrubs can be planted amongst
the flowers, for sprays of lilac and syringa are often wanted
for the large ornamental vases in a house.

4

50 GARDENS : THEIR FORM AND DESIGN

In some cases it looks well if each bed has an edging
of eighteen inches of turf round it. This slopes upwards
from the path to the beds, because the beds themselves

are built up high,
which is always so
much more effective
than quite flat ones.
In a garden given
over to specimen
plants, or where
FIG. 42. separate beds of

plants are needed to

cut from, it is a good plan to have them facing south, in
front of a high wall. On the wail fruit can be grown,
and by leaving a narrow path in front of these fruit-
trees they can be pruned and tended without interfering
in any way with the reserve beds. Each small plot has
a narrow path near it, giving
access to a wide gravel walk.
If it is required to make the
garden look pretty a neat box-
edging will do so. About four
feet is a convenient width for
the beds, in one of which can
be treasured plants from South

Africa, and in another rare lilies, etc. It is advisable
not to make reserve beds too large, and I would suggest
three-feet wide ones as being convenient for violets, for
a lady can stretch across easily and pick the flowers.

A very handsome reserve garden could be arranged
like Fig. 44. The elaborate circular waves that form the
decoration at the four corners would look best planted
with lavender, rosemary, or some permanent evergreen
bush. All other beds would be used to cut from, and
could be gay with many different colours.

FORMAL FLOWER-BEDS 51

With the exception of the heraldic and initial beds, we
hope that the designs so far submitted are of such simple
character that, given suitable surroundings, the severest
judge of garden formality would consider them allowable.

The subject can hardly be quitted without allusion
being made to some others to which the stern critic might

FIG. 44.

possibly object. The only excuse for including them is
the somewhat romantic one that they have been handed
down for several generations. Each succeeding group of
boys and girls played " Blind man's buff" or "Flags"
round them, and thus grew fond of them. Do we not
know many similar to the fan-shaped Fig. 45, which the
garden designer has sometimes to tolerate ? Real pain
would be caused to some members of the family, however,

52 GARDENS: THEIR FORM AND DESIGN

were it done away with. Therefore, simply because of
old associations, it must be kept. Are there not some-
times "true lovers' knots," like Fig. 46, which means not

FIG. 45.

a mere flower-bed, but that two young people found,
as they walked by, that "love-in-a-mist" was the blue
of heaven, and that " loving-idols," or "cull-me-to-you,"
were the prettiest names for heartsease ? Therefore,

let the head-gardener,
with all his merry
men, arrayed in dark-
blue serge aprons,
the emblems since
many bygone years
of garden craft, come
forth and plant their
treasured heirloom
beds. They will
place eight standard
fuchsias in them, and neatly tie their stems with black
tape to round and shiny one-inch bamboo canes. Out of
innumerable small pots they will noiselessly take pink
begonias and strew these as a carpet beneath the fuchsias.
With an edging of red, yellow, and dark-brown foliage
each bed will be completed. Thus, to the great relief of

FIG. 46.
A, Statue ; B, tall flowers.

FORMAL FLOWER-BEDS

53

sisters, cousins, and aunts, these mementoes of happy
times are not abolished. Future " Bills " and " Joans "
will laugh, play, and merrily sing " Oranges and Lemons !"

FIG. 47.

A, Standard fuchsias; B, yellow edging ; C, red edging ; D, Coleus, deep red ;
E, Begonias, pink ; O, Cactus.

near them (Fig. 47) ; whilst the garden designer will be
compelled, too, to rejoice in the preservation of that which
carries personal history with it.

ORNAMENTAL-
POTS

AS we motor through dull, grey, monotonous streets
in an unknown town suburb, our hearts go out in-
stinctively to those houses where a plant in a pot
stands in the window. We know that here dwells a
brother or sister gardener, one who has much in common
with us, love for the same tender, living thing, a wish to
protect that which is dependent. Thus, as we whirl by,
a warm thought-wave goes out to such a kindred spirit.

Many are the varying pictures we carry in our minds
of garden windows. In smoky London, a model of a
tiny gateway and fence in coloured wood oftens keeps the
flower-pots in position. This child's plaything seems as
familiar as the ramping white horse in clay that adorns
the doors and windows of so many small houses. We
wonder how they both became the fashion.

In Northern France we see in cottage windows a row
of flower-pots painted with a thick coat of very bright red
paint. Saucer and all is shiny with it. At once childish
days are recalled to mind, when we were taken as a great
treat to Covent Garden to see all the wonderful flowers
and fruit, and to choose, or make believe that we helped
to choose, what was to decorate the dinner-table. The

54

ORNAMENTAL POTS 55

nicest part of all was the return to the nursery, when
a tiny, shiny red flower-pot and saucer, with a very
prickly baby cactus plant in it, was shown with pride
to Nurse.

It little knew, poor unconscious innocent, as a small,
hot, excited hand fingered it, what a precarious existence
a nursery life would be. Fortunately, a healthy constitu-
tion allowed it to survive many over-waterings and
equally trying ordeals of days of forgetfulness and conse-
quent drought.

This love for plants in pots seems alive in all true
gardeners. Is it the sense of protection of something
small, more helpless than ourselves, that we and children
feel in tending them ? Maybe it is transmitted from the
earliest centuries. We know that flowers were grown in
pots and bowls as long ago as Homer's time, because
there are representations of them upon cups that were
then used at solemn ceremonies. In very early Egyptian
pictures we see flower-pots standing in a garden, much
as they are placed in symmetric patterns by Italian
gardeners of to-day.

Unlike the Englishman, who puts all in the frame
ground, in long dull rows, the Italians enjoy making a
pattern with them. As we look down from a height
upon this nursery ground, where roses and lilies in pots
are being prepared to decorate the flower-garden proper
later on, we see circles and ovals of colour. It seems
almost as if they were already planted in a flower-bed, so
cleverly are the pots graduated in height. The tallest
stand in the centre of a half-circle, whilst little short
ones are at the ends.

Sometimes the frame yard is so arranged that small
evergreen trees are planted at regular intervals in the
ground. Thus some shelter is obtained from wind or too
much sun for the more delicate plants in pots standing upon

56 GARDENS: THEIR FORM AND DESIGN

the earth between. It also takes away the stiffness
which would be the effect if pots alone were there.

What we wish now to consider is how our pleasure
gardens can be rendered more decorative by means of
ornamental pots. Let us move, therefore, from the
gardener's playground, the land of frames and cloches,

FIG

of precious leaf and peat mould, and search out positions
for handsome clipped bay-trees or other flowering shrubs
when they are planted in the great Italian terra-cotta
orange-pots.

Fig. 48 lends itself to treatment in a large garden,
where perhaps a circular hedge of yew or beech gives a
good background. The hedge can be made to form, at

ORNAMENTAL POTS 57

intervals, small semicircular recesses, large enough to give
standing room to a tree in an ornamental pot.

The shaded plots can either be grass, closely mown,
or beds of bright flowers. In the central circle, either a
statue would look well, or, if shadow be needed, a
mulberry-tree would answer the purpose. In the latter
case, it is advisable to have grass below it, for when the
tender fruit falls upon gravel it is badly bruised.

There is no fear of bay-trees not surviving English
winters in the warm parts of England, provided that,
from October to April, their stems are carefully wrapped
round with bands of straw. Then, too, if anxiety be felt
about the pots themselves being cracked by frost, it is
easy to stitch thick Hessian canvas round them. This
has saved many a breakage in exposed positions ; and it
has also another advantage, for the roots of the tree are
thus kept warm.

Dressings of manure, repeated every three months,
and a good soak of water to the roots in dry weather
will preserve the lovely dark foliage of these beautiful
trees. Small birds love to build in the dense foliage, and
in spring it is a joy to find each little tree inhabited by a
numerous family. What great hungry yellow mouths
are opened as we peer into the nest !

The real danger of pottery being injured by frost
occurs when pots are left without earth or plants in them.
Water collects inside, and if ice forms, the terra-cotta
cracks. Another rash thing is to stand them in a damp
conservatory or shed where there is bad ventilation.
Especially is there risk near London, where fogs cause a
close atmosphere. The surface of the pot then often
peels, and the lovely decoration of wreaths and festoons
is spoilt.

For a very formal little garden, perhaps a forecourt or
approach to an old house, Fig. 48, again, looks well. The

58 GARDENS: THEIR FORM AND DESIGN

design can be repeated twice or four times, as suits the
garden best. A graceful statue is in the centre of each
design, and all the flower-beds are outlined by low walls.
Very small Italian oil-jars, or some of Mrs. Watts'
pottery boxes, are set upon these walls, and if sweet-
smelling herbs or flowers are planted in them, they give
an old-fashioned look.

Carnations grow particularly well in terra-cotta boxes,

and this is helpful if rabbits
happen to encroach upon a
garden. They much like to
nibble a carnation stem, it has
a special attraction for them.
When the plant is in a box and
stands upon a wall, they feel it
is within the gardener's pro-
vince, and consequently some-
times show some respect,
that look well grown thus are roses,
geraniums, verbenas, especially the
fuchsias, funkias, and chrysan-
be remembered that proper

Not

FIG. 49.

Other plants
sweet - scented
Miss Willmott variety,
themums. It should

drainage has to be secured if they are to do well,
only must they be properly potted with suitable mould
and crocks, but good holes must be bored in the bottom
of the pottery vase or box. Also, for preference, it is
best to stand them upon stone, where water runs away
easily.

The shadow paths of shrubberies in Italy are often
outlined with pots of arum lilies, which are in flower
there about the end of May. These look very well
against bushes of box, and give much light and bright-
ness to a dark wood. In England we can obtain a
similar effect by using the tall blue-and-white campanula
pyramidalis to outline our paths. In August they look

ORNAMENTAL POTS

59

FIG. 50.

handsome, planted in terra-cotta pots, and placed where
behind them a dark yew-hedge shows off the delicacy of
the flower spikes.

Fig. 49 is suitable for a parterre garden, and large
pots with clipped Portugal laurels, placed in the circles,
give height and remind us of the fine ones at Versailles.

Another design, though less simple, and with a touch
of French influence, is Fig. 50. Again, the trees in pots
that outline the
walks lend height
and interest to the
garden. It was not
only in French and
Italian gardens that
ornamental pots
were used. In an
old book which
gives pictures of
Nuremberg gardens, we find a very charming one that
belonged to Johan Christoph Golkainer. His was prob-
ably a reserve garden, or, at all events, the long narrow
beds, with neat box-edging round each, could be utilized
for cut flowers. A four -feet -high hedge protects this
ground from too much wind ; but, to relieve the
monotony, at intervals the hedge gives place to a tub
or ornamental pot, with a clipped tree growing in it.

We have not yet touched sufficiently upon the true
Italian flower-pot garden. By this we mean a garden
where flower-borders are given more height and grace by
having handsome orange-pots stood upon pedestals in the
midst of the flowers. We seldom see this done in
England, but it is so beautiful in effect, and gives such
magic and height to a garden that we hope it may soon
be introduced as a recognized style. Perhaps garden-
lovers have been held back hitherto by the difficulty of

60 GARDENS : THEIR FORM AND DESIGN

obtaining suitable orange-pots. Or, again, the English
gardener, not having been abroad, sees none of the beauty
and magnifies the obstacles and extra work.

Some two miles or so from Siena there is a good
example of an old-fashioned Italian walled-in garden. It
stands upon a hill. As both sides of the hill belong to it,

FIG. 51.

A circular well is in the centre, with a two-feet-high brick wall round it. The
stone slabs upon which the orange-pots will stand in the summer are seen
in the flower-beds, near the fruit-trees.

warmth is to be had if necessary upon the south side, and
in the heat of the day excessive sun-glare can be avoided
by seeking the cool ilex woods that bound the northern
part. The parterre garden, which is in an exposed
position, is pleasant when the sun slowly sinks below the
summit of the hill. We can then sit and carefully

ORNAMENTAL POTS 61

consider the symmetry with which it has been laid out

(Fig- 50-

The garden is divided into formal beds, outlined by

clipped box-edges. Circles play a great part in Italian
gardens, and in this one, as will be seen, there are many
curves. Fruit-trees with irises and bulbs beneath, or
fruit-trees and vegetables, are in the centre of the large
beds. All round them are five-feet-wide flower-borders.
When we are there in early April we notice, within
the box-edging, at regular intervals in the centre of the
flower-border, flat slabs of grey stone. They vary
slightly in shape and pattern, but each has a cross cut
deep into the stone. This is because, later, the lemon and
orange trees, when it is warm enough for them to be
brought out, will stand upon these stones. All moisture
that runs away from the pots can freely escape by means
of the grooves cut into the stone slabs. The trees con-
sequently flourish, for no stagnant moisture will remain
near their roots.

It is May when the eventful day comes round again.
The padrone has given the order, warm sunshine has come,
and there is no longer danger for the little trees. For
some days an increasing amount of air has been admitted
to the orangery, but to-day there is no doubt about it, and
all windows and doors are thrown open. Good-looking,
excitable, untidy Alphonso commands the men. We do
not understand their language, but to judge by gestures,
wild looks, and constant moppings of the brow, they are
being goaded on by him to efforts that far surpass the
human strength of each. There is in every Italian, how-
ever, a kind of traditional interest in this great day, the
harbinger of summer, and so, indolence being overcome,
with pushes, pulls, and many shouts the lemon and orange
trees come rolling out. Some are on trollies, others upon
rollers. It takes a long time to place them all, and until

62 GARDENS : THEIR FORM AND DESIGN

each tree is in position upon an appointed grey stone
slab, the meaning of the whole garden design is not made
clear. Yesterday the only height in the garden came from
the pale pink of the apple-blossom. This was beginning
to wane, and we wondered if it would look dull without it.
Now it is suddenly clear to us that height comes with
the orange and lemon trees, for we have their green
foliage above our heads ; and later, as the fruit ripens, it
will give us colour too.

It is wonderful, apart from the trees that are in them,
how well the handsome pots look, mounted upon pedestals
of terra-cotta, in the very midst of flowers. We now can
see the doge's cap, papal arms, true lovers' knots, festoons,
wreaths, or the seven familiar Medici balls, whatever
loved emblem has been moulded on them. Flowers such
as delphiniums, lupins, and irises surround the curved
pale pink pedestals. The pots themselves make a pleasant
break in a long border of flowers, and the quiet restfulness
of dark green foliage above gives dignity to the garden.

Why do not English garden-lovers throw aside all
scruples and venture upon some such fairy garden ? In
place of oranges and lemons, let there be clipped bay-
trees and Portugal laurels, or if topiary be out of place,
then have lilacs or hydrangeas growing in the handsome
pots. If such shrubs are not in favour, why not have
sunflowers and lilies, as we see them in old Renaissance
gardens, growing in large marble or pottery vases ?
Often the retaining wall of a terrace was outlined by
these, and from personal observation we know that irises
look well used in this way in the sunk garden near
Kensington Palace. Many are the fine colour effects
that can be attained, and above all is the advantage of
gaining height in our gardens. If only we can study this
point we shall achieve somewhat of the buoyancy and
vivacity of foreign garden design.

TREILLAGE

WHEREIN ARE INCLUDED TRELLIS, PERGOLAS, PERSPEC-
TIVE TREILLAGE, GALLERIES, AND VISTAS

IT is only of late years that this style of work has
become at all generally known in England. Germany
and Holland have always made it a very important
feature of their gardens; but France was the country
where it attained most consideration. In 1769 treillage
was officially recognized as a craft, and was put under the
Corps de Menuisiers. It is worthy of artistic treatment,
and we hope this fact will soon be realized, and that our
public parks may set an example and use more of such
work, so that inspiration may come to the owners of
private gardens.

At present only important houses in London possess
perspective treillage, and a limited number of large country
places have treillage galleries and temples. The difficulty
up to now, perhaps, has been that the craft is in the hands
of one or two large firms only, who have to pay skilled
artists to design patterns. Hence the heavy cost of each
treillage garden feature.

Before going farther it will be advisable to explain that
by the word " treillage " we understand the more impor-

63

64 GARDENS : THEIR FORM AND DESIGN

tant architectural features that are created. " Trellis," on
the other hand, represents to us the humbler ideas, which
comprise slender fences and light pergolas suited to small
places. The name " treillage" comes from treille = arbour.
A trellis means lattice-work of crossed threads or woven
" with three sorts of threads," from tres=> three, and lidum
= thread.
We will first take—

I. TRELLIS

There is something rather fairy-like about the origin of
its name, and when we see the lattice- work of gilded reeds
which comes into many an early Italian picture, our
thoughts go to Benozzo Gozzoli. Well do we know his
frescoes, sparkling with fresh colour and full of descriptive
vigour, on the walls of the Riccardi Palace. In one we
see an example of a very charming lattice fence surround-
ing a garden. This is made of crossed wooden lattice-
work, fixed upon a stone ledge which outlines the garden.
Evidently it marks out the precincts of sacred ground, to
which only a few elect ones penetrate. The stone ledge
is wide enough to have pots with sweet-smelling herbs
upon it, a truly Italian custom. Angels move lightly
within the garden and weave wreaths and chaplets of
flowers, which are hung for further decoration upon the
trellis-work. Other angels, with songs of praise for God
written upon their golden halos, kneel in adoration ; one
other figure, surely that of Spring, moves lightly through
the garden, scattering flowers to beautify still more the
holy ground. There are many winding walks and heart-
shaped beds beneath the pine-trees of the garden. In
fact, if we give free rein to our imagination, there are
innumerable ideas we can take for our gardens from this
fresco. The distant scene is Italian, and equally delight-

TREILLAGE 65

ful, for high upon a hill is a castle, approached by a
shadowing avenue of tall thin cypresses.

These railed-in, quiet gardens seem often the centre of
adoring groups. There is another lovely one of the
Virgin and small children, who kneel beside her, worship-
ping the Child. He lies upon a piece of her blue mantle.
The garden consists only of a small grass-plot in the
centre, with a step or seat of stonework all round. Stone
balustrades stand upon this, and behind them is a thick
dark-green hedge, with white and pink roses in it. Some
of the flowers have been picked by the children, who
have strung them together in a wreath for the Babe
to play with. Beyond the rose hedge are tall sentinel
cypress-trees, and then an undulating landscape, with
lakes, rocks, and winding roads, a truly Tuscan scene.
The stone piers surrounding the garden are more archi-
tectural, perhaps, than the ones with which we are at
present dealing ; but they could be copied in woodwork,
as the simple design of this sunk garden lends itself
to quiet treatment.

We have not far to search for many trellis-surrounded
gardens. One of the earliest is in that beautiful Flemish
fifteenth-century romance, the " Romauntde la Rose," and
many are the ideas which come to us for gardens as we
turn over the pages of this enchanting illuminated manu-
script.

Does it not seem strange, in the solemn atmosphere of
our British Museum, that these lovely garden scenes,
painted many hundred years ago, can bring us dreams that
are fresh as dawn ? Here are little quiet restful gardens,
where flowers, grass, trees, and water are all near
together, so that we could be happy all day long, with
needlework or music, as those fifteenth-century garden-
lovers were. The charm of the trellis as shown in this
Rose Romance lies in its simplicity, for it consists only of

5

66 GARDENS: THEIR FORM AND DESIGN

slender painted battens. Upon one side grow white
roses, upon the other are red ones.

Probably the origin of light trellis fences is to be traced
to the way vines are trained in Italy. In Pompeian
gardens, seen upon some of the frescoes that have fortu-
nately been preserved to us, we find high pergolas, and
also, near them, small plots of ground partially railed off
by low trellis-work. This forms half-circles, squares,
oblongs, any device that is formal and can be repeated
several times to give symmetry to the whole. The love
of it came from the vineyards, where the young vines form
natural espaliers, pergolas, arches, almost of their own
accord. So Pliny and others, we feel sure, copied in their
gardens, with rather more elaboration and formality,
what they had lived among upon their native hillsides.

We know that, with the Crusaders, all these ideas from
the East and from the South were brought to our country.
We can well picture how useful these light trellis fences
were round medieval gardens, for there were many large
hounds, used for hunting deer, boars, and other wild
animals, that were allowed within the castle precincts.
What damage they could do to flower-beds and ornamental
plots of ground ! Then, too, these fences were probably
a means of keeping out rabbits, hares, and other destruc-
tive creatures, and so, in the place of the ugly wire-netting
that we have nowadays, these ornamental rails were put.
They formed a charming decoration, and when they were
painted different colours they added to the bright appear-
ance of the garden.

One example that is ornate, and has charming twisted
balls at the corners, with dense wooden lattice-work, is
round that gem-like garden which holds the " Emblemes
symboliques de Marie." It is in the Grimani Breviary.*

* A good photographic reproduction is in the Victoria and Albert
Art Library (Press Mark, 5, J), Sketch 105.

TREILLAGE

67

FIG. 52.

The garden itself should be studied in every detail, for it
is typical of old-fashioned garden-lore, with that delicately
carved stone fountain and the simple formal square beds.
Think, too, of the poetry it conveys to us, with all Mary's
flowers, sheltered and protected in this quiet reposeful
retreat. We have her own Madonna lilies, her red rose-
bush ; and, still emblematic of her, the dove upon an orb
is at the head of the fountain.
Little details of the surround-
ing trellis should be copied,
and even the variety of alter-
nate wide and thin uprights is
worth noticing.

There are so many different
forms of trellis, and they can be introduced with good
effect into modern gardens. Not only are they helpful
to represent accurately a fixed historic date of garden, but
they lend mystery and seclusion, which is what the garden
craftsman wishes to accentuate.

j) ^ The Bibliography at the end of this

volume mentions books in which are
good examples, but Fig. 52 and Fig. 53
are typical ones. How can we best
adapt these ideas to our gardens ? Are
we not often driven to use ordinary
iron palings, three or four feet high, similar to those which
fence off portions of Hyde Park ? Perhaps a playground
happens to be upon the outskirts of a field or park, and a
boundary is necessary. The iron railings are unsightly ;
but they are practical, because their pointed spikes go into
the ground, and they stand firm against any assault. By
tying bamboo canes to them in the form of the trellis shown
in the " Romaunt de la Rose," they become picturesque
features. Climbers, such as Lonicera Standishii> roses,
and jasmine, are trained over them. The iron is thus

II

I

FIG. 53.

68 GARDENS: THEIR FORM AND DESIGN

hidden, and plants flourish best when brought in contact
with an unvarying temperature like wood.

All the gardens that overhang the steep banks and
walls of Siena have upon the edge either pergolas or a
short espalier of vines. This looks well upon the border
of any banked-up terrace-garden. We gain a feeling of
security, and plants grown upon the terrace behind are
thus sheltered against sun or wind. It is possible, if
stone-work be too expensive, to make the foundations of
these banks quite firm by embedding in the earth old
railway-sleepers. Should these trellises need strengthen-
ing in places, a piece of disused gas-pipe can be used and

FIG. 54.

skilfully concealed behind a bamboo cane. By bending
the horizontal bamboo lines in and out of the upright ones,
an almost self-supporting trellis is made. If tied in places
it is quite secure, and clematis, with canary creeper near
it, looks well on such a fence. The above suggestions
may appear very primitive to those who hand over their
garden designs to a skilled bricklayer, but in these days
of economy for all I venture to offer them. It is not
expensive stone- work that makes a garden lovely, for
beauty is alone gained by care in the arrangement of
details.

For a town or suburban garden, we may take another
idea from Siena. A railing similar to Fig. 54 divides one
garden from another. The uprights are painted a dull

TREILLAGE 69

grey-blue colour, and just a touch of rather faded gold
upon the round balls gleams from behind the beautiful
wistaria that spreads its branches across this fence. Near
by, the pale yellow of a Banksia rose harmonizes well
with the whole. It is simple in construction ; the stout
uprights with the balls are of painted wood, and the
slender sticks between them are bamboos.

Then again, whilst we consider work which can be
done, under artistic guidance, by any handy carpenter,
Fig. 55 is useful, where the
shelter of thick wood is re-
quired in windy districts. By
laying two or more disused
railway-sleepers one on top of
the other, as at A and B, a
nice little wooden wall is made. FlG 55

To give variety cut either one

or two similar blocks of wood and place them so that
they stand upright, as at C. Upon the end pedestal, or
at intervals along the wall, place wooden ornamental
shapes, which will give decoration and finish to the
fence, as at D. A rope can be hung from these orna-
ments, and creepers trained to them will form festoons.
Here it may be mentioned that rope is better than wire
for this purpose, for it hangs gracefully, and creepers take
kindly to it. It should be about one inch thick.

The lighter kind of woodwork fences which we have up
to now considered could nearly all be used, not only to
divide plots or whole gardens, but, as in old pictures, to
outline square flower-beds in a formal garden. We know,
from a delightful picture of Hampton Court garden in
Henry VIII.'s time, that not only had the beds elaborate
wooden carved figures (" Kynge's Beestes " they were
called) as central ornaments to each, but also painted
wooden rails outlined them. This must surely have been

70 GARDENS : THEIR FORM AND DESIGN

a very charming finish ; and these wooden rails, not far
from the ground, would be a support to clematis and
other climbers. The beds being much raised towards the
centre, all tall flowers would show well above the low
fence. We cannot all have carefully carved figures in
our gardens, but where height is wanted, a simple erection
bearing a crest or device upon it is practical. In making
it, sufficient height is the important consideration.

In England, whether it be from dread of sweeping

gales or from inborn
insular shyness of doing
anything especially no-
ticeable or remarkable,
we err somewhat in the
proportions of our gar-
den architecture. We
design arches, pergolas,
and entrances that are
too squat. The French
are much more spirited, for an archway with them is really
important, a trellis or treillage feature is always tall.

This same advice as to height is exemplified in Fig. 56
and Fig. 57. Both are simple of construction, and if put
in happy surroundings will help to break up space, and,
further, they will give interest by creating mystery and
seclusion. When we see a circle of archways we at once
wonder what they surround. We are led to look at the
sundial or water-fountain that stands within. Guided by
curiosity, we then explore farther, and find perhaps a
beautiful herbaceous border, with an ornamental trellis
fence, like Fig. 57, as background. Where it is impor-
tant to have an effective treillage arch, with autumnal
colour effects, plant ampelopsis and ivy upon it. The
round windows of Fig. 56 would thus make good frames
through which to look at a garden beyond.

FIG. 56.

TREILLAGE 71

We should not leave this branch of the subject without
allusion to the trellis fences at Versailles. They outline
the groves of nut and beech trees in that enchanted,
wonderful garden. We find them in two or more patterns,
and the battens are wired together. Thus is carried out
the idea of " woven with three threads," which we men-
tioned was the explanation of the trellis. The beech-
hedges are neatly clipped back to the fence, and their
leaves show like lace-work against it.

When trellis-work was all the rage in France, during
the eighteenth century, the designs
that were wrought for it were con-
sidered of primary importance,
while the climbing plants trained
to it were hardly considered. In

order to prevent the use of many FIG. 57.

free-growing climbers, which might
hide the beauty of the artist's design, tin flowers and
leaves were used.

We do not wish to see so artificial a revival as this ;
but it is the aim of exponents of the new school of garden
design to encourage the use of good trellis-work. So
long as beautiful trees, flowering shrubs, stately lawns
and terraces are valued first in our gardens, we can freely
make use of graceful woodwork for our other less striking
pictures. No garden is perfect unless it has surprises of
all sorts, and it is to hedge in quickly and make surprises
and interests that we look to the further use of trellis-
work.

Thus students of garden craft need to be equipped with
ideas which can be carried out by their own workmen.
They should have tempting little sketch-books full of
designs which will apply to gardens large and small so
that their patron can select what he likes best. The
" gilded reeds " will be for small, dainty elf-gardens, the
bolder, taller woodwork frames for the manor-house.

73 GARDENS: THEIR FORM AND DESIGN

II. PERGOLAS

The dawn of the idea of a pergola is traceable to very
early Babylonian and Assyrian times. We see forest-
trees depicted, and vine-branches are trained from one of
these large trees to the other. Delicious cool shadow
beneath was the result ; and no doubt here we get, far-
fetched as it may seem, the origin of a very delightful
little Spanish roofed-in garden, which might well be
copied (Fig. 58). It will be noticed that shaded alleys

lead into this shadow garden
on both sides, and that they
consist of pairs of square,
tall uprights with horizontal

ij-u- |)L f- -^Wn woodwork across the top.
JL L .L LULli The main supports are
FIG. 58. twelve feet at least in length,

so that two feet are securely

fixed in the ground. They should not be too close
together, but should allow room in the square portion
of the garden to have chairs and tables between them.
The wood can be either stained with one of the many
washes now recommended to preserve from weather, or
it can be given three coats of a favourite colour of paint.
Beneath are paving-stones, and in between them, in the
little chinks and earth-spaces, are planted pansies, thyme,
sedums, myosotis, and any other pretty low-growing
plants. Creepers of all kinds will grow up the pillars,
and as it should be an especially sheltered spot, we can re-
serve for it those choice plants such as Lonicera fragrant-
issima, winter-flowering jasmine, Vitis Coignetia, and
Vitis quinquefolia. Thus, flower or coloured leaf is
obtained for each month of the year ; in short, there
is always something to watch for. Should shadow not
be sufficiently dense, then stretch across the horizontal

Kitchen Garden
Wall — 4

TREILLAGE 73

supports square-mesh trellis, which now can so easily be
obtained, and a covered-in breakfast or tea-arbour is the
result How refreshing little meals will be, served upon
a wooden table in this quiet retreat ! The birds soon get
to know our hours for meals, and stout red-breasted Mr.
Robin will try to hunt away all others who intrude ! Such
a cool, peaceful resting-place should be near the house, so
that, if possible, the windows on the ground-floor look
into it. We have then the happiness of watching from
our rooms, upon a wet day, some of the life of the garden.
By life here is meant not the two-footed

i 11 i i i r Beam of Pergola

gardener s work alone, but the world of £jp~

animals ; because birds, bees, frogs, tor-
toises, all are brought near to us, and
the true Nature-lover cares for all. He
knows that to have all helps to coun-
teract any violent damage done by one FIG. 59.
race, and if birds are tiresome pecking
at the young peas, still, without them we should be over-
run with aphis.

If this extra outdoor room be adjacent to the house
a portion of the trellis roof can be fixed to the walls.

The Italians, who are somewhat casual and untidy
in such work, make a hole in the wall, and fix the hori-
zontal beam in it ; but this is apt to let water into rooms.
Therefore, a supporting thickness of wood nailed to the
wall is preferable, whereon the roof-beams of the shadow
garden can rest.

This same idea is to be found where a long pergola
walk is wanted, parallel and close to a kitchen garden or
other wall. It will be seen in the sketch that it is thus
an economy of wood, for only half the number of stout
uprights are required, the wall upon one side taking their
place and lending the necessary support (Fig. 59).

Needless to say, the best lessons upon pergola-building,

74 GARDENS : THEIR FORM AND DESIGN

as it can be carried out by the amateur, come from long
study of the Italian hillside vineyard. What we usually
see there are terraces, supported by roughly built stone
walls. Against these walls are planted the vines, and
then, when they have reached the top, they are trained
forward upon sticks projecting from the wall, and thus
form an overarching roof towards the front of the terraces.

All the trellises are square- mesh, not lozenge-shaped,
and this gives a restful line. What we notice is that the
uprights are much stouter than those usually erected in
our small English gardens. They are of chestnut-wood,
and sawn square.

Sometimes rough-hewn granite blocks, chipped to look
square, are used instead of wood, slender poles then
filling in the sides and forming the horizontal cross-pieces.
What look very bright and Italian are uprights of plaster-
work, or possibly of brick, with rough-cast over them.
These pillars are about twelve inches square and twelve
feet high, but the exact dimensions depend upon the
height of other buildings near. The wooden beams that
form the roof rest upon the pink-coloured uprights.

It is the fine solidity of the square pillar that we
admire, as compared with the somewhat tawdry, undigni-
fied look of larch or fir poles. Even dull grey-black
railway-sleepers, employed in this way, make useful
background for creepers. There is a feeling of strength
and durability about them, and a small town garden
could be made really fascinating in colour by the use of
such old tarred wood as uprights to train creepers on.
How well grey-blue clematis or scarlet clematis coccinea
would look twined round them ! Then, too, logan-
berries and hailsham -berries have quite an Italian, a vine-
like, look about their leaves, and they quickly cover
any woodwork. Bamboo canes can always be put
between the tarred wood and the creeper, should contact

TREILLAGE 75

with the tar be trying to the plant. In very sunny
gardens gourds are grown upon pergolas, and very
tropical and gay with bright, southern-looking colours
they are ! If the large twisting varieties are chosen, it is
desirable to have iron uprights to support the heavy
weight of fruit and foliage. These posts should be
about an inch and a half thick, painted green, and they
will not be noticeable. Before the plants are tied to
them it will be well to twine neat willow-twigs round
each iron post, so that they are brought in contact with
wood, and not subjected to the changes of temperature
of iron. Old gas-pipes or flat iron stakes, painted green,
are fixed across the top to form the roof of the pergola ;
but the sides are best made with thick wire stretched
across in squares.

A journey through Switzerland and Italy shows us
yet another way of designing pergolas. They often in
the vineyards have a central shadow walk. Upon either
side are less tall, narrower arches and alleys. Some-
times side aisles are scarcely high enough to walk
beneath, but the look of the whole is pretty, and, too,
the central walk is densely shaded, owing to the double
thickness of the sides, overgrown with creepers. It
would be pretty to have some ornamental feature, such
as a bird-bath in stone, or a flower-vase, at the end of
the two side-walks. This would give a meaning to them,
for a walk should never seem purposeless.

Between Pistoja and the summit of the mountains we
see many of the three-arched walks, with little glimpses
of bright yellow broom at the end of the openings,
framed by vine-leaves.

It is the main object of these notes to help towards
the building up of small artistic gardens, both in town
and country, so that we deal chiefly with those pergolas
which can be erected with a small amount of trouble and

76 GARDENS: THEIR FORM AND DESIGN

expense — shadow walks, indeed, which the amateur can
himself erect with the help of the village carpenter
or blacksmith. When a bricklayer is called in, and a
more ambitious shadow walk is asked for, Fig. 60
may well be suggested. It is economical of bricks,
because, as the sketch shows, a high wall is not necessary,
the piers can be placed at intervals upon a level surface
of low brickwork. Wooden uprights will spring from
these piers. The whole is light and graceful, and there

is protection enough for
a considerable number
of climbers to be planted
against it.

If a high wall be used
in the place of the brick
piers, then there is no
reason why peaches
should not
against it

sunny southern side.
Within the pergola

climbing hops or honeysuckles can be planted, to twine
up over the woodwork and run along the slender cross-
pieces of the roof. Thus can be happily united the profit
of fruit and the grace of flowering climbers.

For a really important and beautiful covered way we
have not far to seek. It is one which has been planned
out upon truly Italian lines, and is at Gravetye, Mr.
W. Robinson's famous and lovely garden. Slowly we
walk up it, by a gentle gradient towards the summit ot
the hill, winding gently, and thus obtaining at each step
a different prospect. In autumn, the place from which
to view it is the upper windows of the house ; and this
should be kept in mind about all pergolas, for the lovely
reds and yellows of the leaf-thatched roof are seen at their
best as we look down upon them from a height.

be grown
upon the

FIG. 60.

TREILLAGE 77

An advantage of a solid brick or stone built pergola is
that a rich and deep border can be made, if need be,
upon the top of the wide walls of stone. We are
assuming that, as at Gravetye, the covered way leads up
between two banks of stone-work, which are some four
feet high. From them, at intervals, spring uprights
that support the roof. Then climbers as in this border
have not far to travel before they reach the roof. It is
a speedy way for them to gain the top, since they begin
upon the wall four feet from the ground. The small
chinks, too, in the supporting walls can be used for rock
plants and ferns. In England we often see brick pillars
used ; but care must be taken to choose only a colour of
brick that will tone well with creepers, for a vivid picture
of bright red brick and a pale pink Dorothy Perkins
rose against it is recalled to memory. Almost a night-
mare garden was this ! Resting upon the scarlet pillars
were huge ungainly branches of trees. Had they been
left in their natural state, with bark upon them, they
might have passed unnoticed, but a fox-coloured, shiny
varnish had been smeared over them. Their appearance
was of that kind which is called " rustic," but, in truth, is
stamped in mind as " suburban."

Many are the happy evenings spent by the garden-lover
in the ingle nook planning out a future garden. As the
great logs blaze, and then slowly, one by one, fall dying
into ash beside the tall iron dogs, we ponder over future
borders and pergolas.

It is quite easy upon a drawing-board to erect a small
pergola as it will be in reality. We use little pieces of
wood, like matches, and fix them, by means of dabs of
sealing-wax, to represent upright posts. Thus they can
be grouped in twos and threes, and experiments can be
made as to the best way of spacing them. Horizontal
wood can then be laid across the tops, and an exact model

78 GARDENS: THEIR FORM AND DESIGN

is obtained, which can be shown to the man who is to
carry out the work.

One of the finest effects is by placing the uprights in a
triangle, so .'. The horizontals that rest upon these
uprights should also be in groups of three. It looks best,
too, if they project a foot or so beyond the uprights, over
the sides (Fig. 61). One lovely long walk so arranged is

FIG. 61.

paved with grey York stone slabs ; little rock plants are
in the crevices, and also on the edges beneath the
pergola. Near by, but on a lower level, is a smaller
arched pergola made of iron arches, and it stretches
across to join an espalier of fruit. This pergola is very
narrow, and allows of only one person walking along it at
a time, for it is but eight feet high. The other larger
pergola is much higher and wider. The charm of the
whole is that from the important high one we look down
upon the smaller one and see its lovely roof of roses.

TREILLAGE 79

III. PERSPECTIVE TREILLAGE, GALLERIES, AND OTHER
ELABORATE ORNAMENTAL WORK

We now come to those important designs which are
suited to large gardens. They should be far more exten-
sively carried out than they are, because many gardens,
where expense has not to be considered, are wholly
devoid of incident. They have no surprise, no mystery
for us, and all is laid bare from the first step the visitor
takes inside the gates.

This should not be. A pleasure garden, surely, is
primarily for the encouragement of outdoor life. It is a
means of inducing us to carry on our avocations, enjoy-
ments, games, and intercourse under the happy freedom
of blue sky, with the strength-giving sun rays nearer to
us than when they have to penetrate within four walls.
Our endeavour should be to make our gardens no less
comfortable and inhabitable, while more beautiful, than
our rooms. By this we do not mean that the beauty and
restfulness of Nature are to be marred by our small human
erections of architectural features ; but we wish for more
meaning in garden planning. Shelter, whether it be from
wind or from sun, is always wanted. Cosy corners,
where a book can be read or writing done ; wide,
important walks or terraces, where friends may wander
and discuss — these are what we crave for. Then, too,
we want a moonlight garden, where pale white colours
gleam beneath dark-green bay-trees in Italian pots, and
sweet flower scents are wafted to us on the soft breeze.

The level, green lawn, parterre beds, herbaceous
borders, and stiff wire-strained espaliers are not all
satisfying. We need a good, strong, dark background,
either fine-grown yew hedges and trees, or if we have not
these, then architectural features, like treillage galleries.

They are restful if their lines harmonize with those of

8o GARDENS: THEIR FORM AND DESIGN

TREILLAGE 81

the house or other walls. As an example of a lime-
walk that is perfect in this respect we may instance the
one near Kensington Palace. From the recesses of the
orangery, when we look across towards that beautiful and
dignified William III. building, we are struck by the
excellent proportion of the surrounding hedges and the
harmony of the whole. Here are breadth and dignity.

Treillage designs cannot be thrust, by any means, into
every garden, or even into any part of a suitable garden.
Where trees have been felled, and in the clearing of the
wood a house has recently been built, it probably would
be incongruous to put treillage-work. There are, how-
ever, many public gardens and stately private places
where somewhat of a Le Notre treatment is surely needed.
We hope that by showing examples of the best workman-
ship we may tempt owners of gardens to give the matter
their attention. Unfortunately, it seems that there is a
somewhat hard line of demarcation between the formal and
informal schools of garden design, and neither is inclined
to shake hands firmly with the other. Both, in reality,
are wanted, and it only needs the master hand to join
them into one harmonious whole. Architectural lines
would then only be near buildings, and as one approached
the further boundaries of the garden informal lines would
succeed them. The transition should be so gradual as
hardly to be noticeable. Perhaps the fault has been that
formal gardens have either been carried out in many
cases solely by architects who frankly own their ignorance
of the natural surroundings of plants, or else have been
hurriedly designed by people who have not travelled, and
to whom the best examples of such work in Italy and
France are unknown. These workmen execute so many
" my lady's gardens " a year, wherein the personal touch,
which would make it in reality her garden, is lacking.
We tread upon delicate ground in venturing such

6

82 GARDENS : THEIR FORM AND DESIGN

criticisms, but we are prompted by a wish to see the
formal and informal not only harmoniously united, but
placed upon a higher and more thoughtful plane.

We will consider, first, some of the most beautiful
treillage compositions that were to be seen before France
was played havoc with by the Great War. I allude to
the gardens surrounding Chantilly, that treasure-house of
pictures and gems. Here were to be found examples of
two kinds. The first, a perspective treillage, fixed to the
high walls of the Jeu de paume house, has in all prob-
ability acted as a model to any such work that has been
executed in England. In the Chantilly one there was no
idea of growing creepers up the treillage, for it was
merely an ornamental pattern of latticed woodwork,
painted dark green, and fixed against the wall to hide
dull brick and mortar. There are many gardens upon
the leads in London where the difficulty of obtaining a
sufficiency of earth in which to grow plants leaves high,
unsightly walls exposed to view, and this, then, is the
place for perspective treillage. The wooden lattice-work
usually represents a diminishing view of a garden-walk
or treillage gallery, and sometimes initials or emblems
only are worked into a design. Certainly it has the
effect of giving colour and interest where it is not
possible to grow creepers.

Often in some very old country houses, built round a
square courtyard, which is entered by a porte cochtre,
such decoration would help considerably to take away
the dark, dull look that is the result of insufficient
sunshine penetrating to the court.

This example is, however, not the best one of the
Chantilly treillage.

In pre-War days, being upon a visit of exploration,
we wandered far amidst the lovely grounds before we
reached the lie d' Amour. The great castle, reflected in

TREILLAGE 83

the moat, lay on our left, and, after passing a beautiful
avenue, at the end of which was a very French-looking
red brick chateau, we lost ourselves in the bewildering,
winding walks of the jar din Anglais. It is not without
a sensation of injured pride that the English landscape
lover realizes, when visiting foreign countries, that this
name is given to an especially uninteresting style of
garden planning. It is true that handsome trees and
shrubs usually grace the level piece of grassland, but
the vague, purposeless paths that intersect it scarcely
represent correctly an English garden. Let us console
ourselves by thinking that the peoples of other countries
are only aiming at depicting our well-arranged tree
groups and bright green grass, and that they have
no arriere-pensee of a monotonous stretch of pleasure-
ground when they show us their jardins Anglais /

The approach, full of mystery and romance, to the lie
d'Amour lay through a densely planted wood of yews
and other trees, where two converging paths at last
met. Against this dark background of green stood the
white marble Venus de Medeci on her pedestal, and
from an opening, through which the tapis vert of the
island was seen, rays of sunlight danced towards her.

In order to reach the tapis vert we crossed a small
wooden bridge which spans the water that surrounds the
island. Then it was that we had our first view of the
graceful treillage temple which terminates this long and
narrow garden. The grass carpet leading to the statue
of Apollo, standing beneath the temple, was about ten
feet wide, having a narrow four-feet-wide path upon
either side. Next to these paths were yew-hedges,
overhanging the river and forming thus a boundary to
the garden. At regular intervals in these hedges we
noticed stone pedestals, upon which were vases filled
with bright-coloured flowers, and from their height above

84 GARDENS: THEIR FORM AND DESIGN

the hedge these were reflected in the water. Some of
the stone pedestals were shorter than the others, and
these had springs of water flowing from them.

This fine effect had no doubt been arranged for with a
view to the impression it would create upon a spectator
viewing it from the formal gardens laid out upon the
opposite banks of the river. Guarding the entrance to
the island are two very fine treillage, pedestals which
correspond in pattern with the elaborate work of the
temple under which Apollo stands, and thus they make
a distant framework for it.

Beyond the island the two wide river-branches,
momentarily separated, rush together, and, traversing a
stone passage, they dash along it to form a cascade.
This intermingling of the waters seemed a repetition of
the same idea which led the two converging paths to
unite in front of the statue of Venus.

Emblematic in every sense did this garden seem of the
meeting of two lovers, who, having overcome separation,
at length found peace and happiness upon this lovely
island. Here we can picture their souls at length
transformed into a stream of crystal water, flowing on
over all obstacles towards the sea. Would that some
such dream-thought might become a reality in regard to
the happy unison of formal and informal garden design.

But let us leave this garden, which must so recently
have had the din and roar of cannon echoing round it,
and pass on to some handsome and uncommon central
ornaments for beds, taken from old Dutch and Swedish
prints. Some of these are exceedingly fanciful, and
perhaps, In the workman's anxiety to invent a very novel
design, the ultimate object for having treillage was
overlooked. It is possible to modify these, and to plan a
centre-piece which will answer the two main purposes for
which such features are intended. The result to be aimed

TREILLAGE 85

cit is to gain a substantial and firm, yet graceful back-
ground, up which a climbing plant will twine ; and,
secondly, to obtain height in a garden, so that those
beautiful flowers like roses and honeysuckle are lifted
high above our heads.

For these two purposes nothing can be better than
the Swedish idea of obelisks of treillage-work,
such as Fig 62.

Sometimes we find a square-shaped pedestal
which supports a globe, the whole erection
being made of latticed wood battens.

Another favourite device in William and
Mary gardens was a flower- vase with handles.
It was possible to plant a creeper or a young
tree in this, and, owing to the sunlight and air
that penetrated through the latticed vase, the
plant grew and had a quaint appearance, its
branches spreading out above the top of the
woodwork (Fig. 63).

Pedestals of lattice-work, about four feet
high, were used for standing pots of flowers
upon, and were so arranged that they formed central
features in a formal garden or parterre.

We may perhaps also mention an ornamental wood-
work standard which was suggested by the writer of this
book. It stands about ten feet high, and is made secure
in the ground by means of a patent iron shoe embedded
in cement. Upon the highest part it carries an ornament
or any heraldic design, such as the crest or initials of the
garden's owner. A creeper planted at its base can
be twined round the upright portions of the standard, or
even taken into the midst of it, where there is ample space
for several branches.

While discussing the important point of height in a
garden, we are led to consider the characteristic French

FIG. 62.

86 GARDENS: THEIR FORM AND DESIGN

style of having several wide flights of steps to lead to a
grass platform. From here the beauty of a parterre or a
water garden was seen to advantage. It should be noticed
that the outline of the steps is distinctly architectural, and

carefully thought out.
The half-circles, corners,
or bends had often to
be strengthened with
treillage-work, for grass
steps, we know, are
difficult to keep trim
and neat. At the back
of the platform was
usually a high treillage
fence, holding back a
nut or beech plantation,
as we see them at Ver-
sailles. Here, again,
were an infinity of twists
and bends, with half-
circles, too, at intervals,
and the ground-plan of
such a fence shows
many nooks thus
formed, where a statue,
or perhaps a bay-tree in
a tub, or a garden seat
would look well (Fig. 64).
We find another delightful feature in foreign gardens.
It goes by the name of a berceau, or "gallery." There
are many interesting ones in old prints of Swedish and
Italian gardens. But, before we discuss them, it may be
well to learn all we can from that excellent example of a
plain gallery alluded to earlier in this chapter, the one
made of lime-trees near Kensington Palace. The trees,

FIG. 63.

TREILLAGE 87

planted upon either side of the wooden structure, are put
into the ground with a sloping inclination towards the
centre. They have the appearance of leaning forward to
meet one another.

They were about ten feet high when first planted, and
this slight bend gave them additional height for quickly
arching over the walk. It should be observed how care-
fully the branches are trained and
tied ; thick felt, too, is wrapped |
round some of the stems, to pre-
vent their getting rubbed. The
narrow border for flowers beneath FIG. 64.

the arched way is nice, and cer-
tainly for London nothing better could have been chosen
than the neat edging of London pride, so graceful when
its white and pale pink flowers are out.

Another good effect beneath a pleached walk is a thick
row of yellow crocuses. We see this at Hampton Court,
where it is always an excitement to run up the stone steps
to see if the two long lines of gold are really out in full
flower beneath the Elizabethan alley.

Perhaps one of the earliest treillage galleries, very
simple in style, is the English one shown in the frontispiece
of the " Gardener's Labyrinth." It can be easily copied.
Of a later date (1614), and — being French — more ornate
in style, is that which is shown in Crispin de Passe's
" Hortus Floridus." Apparently it surrounds three sides
of a gay parterre. The figures which support the roof
are of carved wood, and little turrets occur in it with
small circular windows through which the garden can be
seen.

At the Engraving Department of the Victoria and
Albert Museum is a book by Nicholaus Vischer called
"Villa Angiana." Many of the galleries shown in this
book have small windows in the lattice- work. These can

88 GARDENS: THEIR FORM AND DESIGN

be either round, oval, or square, so as to give variety.
It is best to keep one shape of window to each gallery or
temple, because in all garden design restfulness should be
the chief aim. Any sudden changes that the eye might
perceive should be avoided. These windows are a help
to framing pretty distant pictures ; for instance, a group
of blue delphiniums or -white Madonna lilies gains greatly
in effect when seen through a window.

A rather charming idea is a circular garden outlined by
a gallery of lattice-work. Small temples of woodwork

FIG. 65.

are spaced in it at regular intervals, and in the centre of
the parterre, which this gallery surrounds, is a rather high
lattice temple, as is indicated by the picture (Fig. 65).

A small walled-in garden might be made full oi
varied surprises by having a gallery in the shape of
a cross, with a big dome of treillage-work in the centre
of it. Thus four plots would be obtained, and owing to
the high pergola we should not see all the plots at once.
They could be differently arranged if necessary. For
instance, a low trellis could surround each, and on this
might be grown fruit. The beds could be for vegetables
or flowers, according to the requirements of the owner.
One distinct feature in the outer walls would be the
rounded entrances, and at intervals, if necessary, might

TREILLAGE

89

be grilles, through which further gardens could be seen.
The same windows could also be in the sides of the
pergola.

To give a somewhat different character to the bound-
aries of the four plots, plain wooden palings, or others

I SWEDISH CARDEN

FIG. 66.

with curious devices, initials, dates, and even heraldic
animals, might be interesting.

Yet another kind of tunnel-shaped gallery of square-
mesh treillage is seen in a Swedish garden (Fig. 66).
Possibly a gold ball on the top of the temples might give
rather a pretty glistening effect, and a very faint blue
colour for the roof of the woodwork gallery would look
well. It seems then as if an Italian blue sky were reflecte d

go GARDENS: THEIR FORM AND DESIGN

on it. All these little touches need to be very lightly
done, and with discretion ; for we do not wish to run the
risk of Bacon's sarcasm about " tarts."

With some woodwork it has a good effect to paint the
front of the lath of wood blue and to touch the sides with
green, or to emphasize certain details with white or red.
The beautiful grey-blue or dull peacock-blue colour that is
sometimes found still surviving upon old summer-houses
is one of the most restful colours. A less romantic but
practical colour is brown solignum, or even creosote. It
sometimes may be objected that the latter is not good for

FIG. 67.

the growth of plants, but in the open garden, with fresh air
blowing freely all round, it does not seem to affect them.

In the palace garden of Oreno, in the time of Count
Batta Scotti, we see wonderful tunnels and galleries of
treillage-work. In particular there is to be noticed a
raised woodwork temple in the centre, which possibly
represented a bell-tower for summoning gardeners to
their work. Near it are some five galleries or so, all
running side by side, forming thus a long shadow-house
walk in the heat of summer.

At Lusthuys, William III.'s castle, is an even more
elaborate gallery in treillage. This, one can picture,
could comfortably seat an orchestra in the central temple.
There were also probably small open courts, with gay

TREILLAGE

91

flowers in beds or pots standing in them, between the
sheltering lines of the galleries (Fig. 67).

Thus we see that there is no difficulty in planning
variety in the shape of galleries ; but where talent comes
in is in selecting the right kind and building it in suitable

ff I 1 // // // // /S

FIG. 68.

proportions. We also should endeavour to aim at
simplicity.

The art of topiary passed through a phase of exagger-
ated style ; and treillage-work, likewise, lost at one time
somewhat of its true meaning. In old books we see
entrances to galleries that are too ornate, such as Fig 68.

92 GARDENS: THEIR FORM AND DESIGN

At the same time, they are worth preserving in mind for
use in perspective treillage. Then a simple arch like
Fig. 69 is very easily constructed, and looks well, as there
is no pattern to take the attention away from the creepers
supported by it.

We may mention one elaborate design which, if

modified in treil-
lage-work, or even
if introduced into
the stonework of a
wall, would have a
good effect at the
end of a gallery.
The design is an
archway supported
upon columns of
treillage, with two
pyramids of wood-
work on the top of
FlG> <59 the roof and a globe

in the centre. The

whole forms a recess, in which is a seat ; and just above
this is a window, through which the distant landscape can
be seen. We can readily imagine what a pretty vista was
gained in this way, looking down the gallery and through
the window at the blue distance beyond.

Wherever such unexpected views can be made they
lend interest to a garden. In an old French print a
circular garden is shown with a stone basin and fountain
in the centre. Upon either side of this two inclined
paths lead to a higher level, where there is a surrounding
fence of treillage, and opening out of this are three vistas
of the same woodwork. There is a feeling of the mystery
of the unknown about these three walks. We long at
once to leave the soft splash of the fountain, and to wander

TREILLAGE

93

by one at least of these treillage galleries and see what
further surprise awaits us (Fig. 70).

In the same way, in a large garden, we can understand
that a modified representation of Fig. 7 1 would appeal to
the curiosity of a visitor. Not only should we wish to
walk through the central arch and see what was hidden
behind this half-circle of treillage, with its two high obelisks

FIG. 70.

at either side, but we should anxiously look through each
of the window-frames, with the high obelisks on the top
and the supporting uprights. The eight windows thus
obtained would no doubt each surround a different colour
scheme, to be accentuated by means of the enclosing
frames. Here would come in the art of the garden
designer and colour-painter, not the architect. Such
treillage- work needs skilful planting, for it would never
do to leave it standing up bare and without the softening
effect of well-chosen creepers. Then, too, the scheme of

94 GARDENS: THEIR FORM AND DESIGN

the garden within must be carefully thought out, so that
each window shows a different and a perfect picture.

It is, we hope, by the use of such simple woodwork
that gardens which are not fortunate enough to possess
fine trees or stately hedges will be beautified. Much can

FIG. 71.

be done for small suburban gardens by the use of treillage.
We do not mean the fox-coloured, varnished rustic wood-
work which, alas ! we still see in many a garden as the
train carries us past Wimbledon and other suburbs. We
sincerely hope all this may be replaced by simple square
latticed woodwork, such as is shown in old prints and
pictures.

"OPIARV

THERE are few trees that bear round them more
glamour of romance than our English oaks and
yews. " The gnarled and writhed thorn " recalls
the poets, when in May the white or pink blossom and
delicious scent tell that summer, so long awaited, has
really come at last. Beautiful as it is, however, there is
not about it the feeling of invulnerable strength that the
oak or yew inspires as we look up into the depths of
green leaf that the great overarching limbs cast round.

Like Chaucer's pilgrims, who rode up Chantry fir-
woods to pray at little St. Martha's, and then sped on
towards Canterbury along the Merrow Downs, we
wonder as we go if Druids truly worshipped these same
big yews we see. Are they the actual ones which they
venerated, or only successors to that greatness ? What-
ever age they may have reached, the past lives in them
again for us.

Then, in those enchanted woods of the Weald, still
designated " The Forest " and peopled with real fairies,
what stories the trees can tell ! We wend our way by
rough paths across commons that are a golden glory of
gorse, to be followed after by purple heather ; and, as
the light-foliaged, graceful birches become less scattered,

95

g6 GARDENS: THEIR FORM AND DESIGN

gradually grow more close together, and mix with other
trees, then in the darkness of the forest people of other
times, who have gone before, rise up to greet us.

The fairies we can see, when they allow us with the
children to stand afar upon Midsummer Night's Eve and
watch for them in the moonlight, either upon the broad-
backed downs, where rings of silvery Lunaria bid them
hold a dance, or maybe sometimes after the red sun has
sunk beyond the stems of the pine-trees. All below is
misty blue with bluebells, but here and there a tall green
stem of bracken waits for a fairy's wand to strengthen it
and bid it grow. Then, in the stillness of twilight, are
" elves and pixies " near.

In the depths of the forest Ivanhoe and Robin Hood,
with all the bow-and-arrow men, speak again. Each dark
green yew with thick red-brown stem tells of Crecy and
brave yeomen, the oak-trees recall hunting-parties which
swept by to hawk out in the open country ; and so all
these great trees remain to us as precious gifts, living
creatures that we would not have vanish or injured.

Is it pardonable to have somewhat the same feeling,
one of treasured recollection, as a handsome clipped-yew
peacock comes to mind, in a very ancient manor garden ?
Or, perhaps, in an archway leading to a black and white
timber cottage, we see a quaint old-fashioned represen-
tation of a bear, the heraldic emblem of an overlord of
former days — a beast that would delight the heart of any
child, though older people, too, confess a joy in looking
at it, because of the associations of the past which have
been clipped and made live in it ? Surely it is a treasured
heirloom !

It is counted a weakness by some to tolerate the
cruelty of topiary work. A lover of Nature, the man
who worships trees for their beautiful natural forms but
has no great love for the history of bygone countrymen,

TOPIARY 97

may chide and call such garden work child's play. Even
he, however, could hardly fail to love and admire that
stately narrow yew-walk which leads to the old house at
Cleeve Prior. Are they the twelve Apostles ? or do the old
yews represent the monks in their cowls who, tradition
tells, inhabited the place before the dissolution of the
monasteries ? Whomsoever the figures are intended to
resemble, as they lovingly hold hands and seem to cast
the strength of protection upon the quaint old gabled
house, they form a most effective approach. The vista
of the house at one end, and the entrance-gate and a
picturesque barn beyond at the other, is a joy to any
painter. The proportions, too, of yews, path, and house-
gable, are excellent, and a future garden designer should
take measurements and make note of every detail.

Another ancient garden, which takes us back to days
when men wove ideas borrowed from the New Testa-
ment into all crafts, is Packwood, in Worcestershire ;
and this garden, amongst others, may perhaps have
inspired that very symbolic modern one at Old Place,
Lindfield. In neither of these gardens is there exaggera-
tion of clipped trees. Time itself has softened the first,
and the yews have regained more or less their own free
growth, although the original plan remains to tell its
story. The garden at Lindfield, too, although formal in
design, and possessing two characteristics of such ancient
work, the " Mount" and the " Wilderness," is treated in
a natural way.

Thus we are led to hope, with regard to this greatly
discussed art of tree-clipping, that even those most
averse from it may allow some beauty besides poetic story
in the specimens just alluded to.

Levens, where so many shaped trees abound, interest-
ing as it is historically, might well be considered too
exaggerated and crowded a type of topiary work to

7

98 GARDENS: THEIR FORM AND DESIGN

reproduce. There is a decided feeling amongst the
moderate, broad-minded admirers of old-fashioned garden
craft that there are certain positions in modern gardens
where a touch of it will greatly enhance the values
of natural grouping. As the artist, having worked
up quietly, and in a minor key, a large portion of his
canvas, knows just where to give that bright and
gleaming bit of detail which will carry the eye to the

FIG. 72.

important feature of his picture, so it is with garden
design. Near the house, and where formality calls for a
light touch, a playfulness, there we can with full assurance
have recourse to a small piece of topiary work.

Such quaint cut figures as Fig. 72 either may be
isolated in some rather striking position in a garden,
where they give relief to brilliant colouring and fit in
with the historic date of the building, or, more often, are
best in pairs to form an entrance to a surprise garden.

It is but poor fun to spend some guineas upon buying
a box or yew tree shaped to a conventional pattern, and
chosen from amongst innumerable similar ones at a
crowded flower-show. The amusement comes by each

TOPIARY

99

FIG. 73.

year modelling the tree with our own shears to look
more like the bird or uncouth heraldic monster that we
have decided it shall later on represent.

Provided a good solid wire frame is made as a founda-
tion, yews will grow into any shape if
carefully trained.

One or two vases made like
Fig- 73, with two yews tied to the
frame, will look well in a formal
garden, particularly if they are placed
in the centre of a large flower- border,
where a dark green hedge acts as a
background to gay colours. They
can also be planted in pairs and put
upon either side of an entrance.

There are many very delightful
shapes for clipping trees to be found
in old books. One like Fig. 74, in a
ring shape, is good. This has already often been repro-
duced in box and yew, but there is no reason why the

idea should not be carried out
by planting an evergreen honey-
suckle or a Wichuriana rose
upon the top of the steps to form
the ring.

Likewise, a mushroom-shaped
bay or yew tree can take the
place of the ring upon a some-
what similar pedestal. Or, again,
a bay -tree can be mounted upon
a circular flight of steps.

Simple big balls of box, and
in between them masses of Michaelmas daisies in variety,
look well near a house where some slight touch of
formality is needed.

FIG. 74.

ioo GARDENS: THEIR FORM AND DESIGN

It is when we come to having a large number of
shapes like Fig. 75 spotted recklessly about a parterre
garden that the topiarist should stay his hand. Trees
such as these are often seen in old French prints of
gardens, and we know that they were fashionable at a
time when, like every phase of taste, this particular one
became exaggerated to a ridiculous degree. Let us
hurriedly leave this picture, lest we call upon us the wrath

FIG. 75.

of the natural-tree lover, and turn to other parts of a
large garden where perhaps a moderate use of the clipped
hedge may not anger him too much.

CLIPPED HEDGES

From a gay herbaceous border full of rainbow tints and
joie de vivre> it is pleasant to wander through an arch
in a tall yew-hedge, and to find absolute rest and no
colour in a long, narrow enclosed garden. The path
passes straight through the centre and out under another
yew arch beyond. Upon either side of it is a grass margin
and then the feature of the place is a wonderful ten or
twelve feet high clipped yew-hedge, which surrounds the
whole.

All sorts of birds and beasts are cut out and stand upon

TOPIARY

lor

the top of it, as they have stood in all probability for
some hundreds of years. Here are peacocks, bears,
deer, and every animal, in short, that could come out of
a book of fairy tales to enchant the eyes of childhood.
Midway down the garden, the hedge for some six feet

FIG. 76.

or so in length is cut low, and is only about four feet high.
Thus one can see over it into bright gardens full of
flowers lying on either side of this peaceful retreat, where
the different greens of yew and grass are the only
contrasts (Fig. 76).

Large trees are not healthy near a house, and they

GARDENS: THEIR FORM AND DESIGN

darken the windows. Therefore a lawn or parterre
should come first ; and it is to unite either of these formal
designs gracefully with the more informal style beyond that
a hedge with archways like Fig. 77 is often serviceable.
Thus, tall natural trees, if surrounded as they are here by

slight formality in the
shape of a hedge, will
not form too sudden
a change from the
garden immediately
round a stately
house.

As a background
to an imposing, bril-
liantly coloured par-
FIG. 77. terre garden, a hedge

of dark green yew,

with buttresses of variegated yew, looks well. In large
gardens there are so many things which have to be con-
cealed if the gardeners are to keep the place well and in
good order. Grass-mowings accumulating in large
quantities cannot all be turned quickly to utility, leaves
have to be swept up hurriedly and put out of the way in
heaps for future use. All these must be hidden, and it is
for this purpose that hedged-in corners are often required,
just as they are needed to surround surprise gardens. It
is useful, therefore, for a garden designer to collect many
different patterns of hedges and note the best material to
use, so that suitable ones may be chosen for each garden.
Often a bright bit of colour standing up above a hedge
and beyond it is good ; as is the case where round
clipped balls upon the top alternate with the Dorothy
Perkins weeping roses which are in a garden of mystery
beyond.

Where heavy falls of snow are to be expected, a hedge

TOPIARY

103

sloping down some inches from the top towards the path
is practical, for the snow glides gently off and the trees
are not then injured ; and small balls and pyramids can
be cut in the yew to give variety.

Sometimes, in an old garden, we find a tree growing
out of a wall. Without pulling away the stones it would
be impossible to remove the strong roots, and perhaps a
touch of dark green foliage
helps the picture, so the
tree is left. It can, if it
is a yew, be clipped into a
pyramid, which will keep
its growth in bounds, and
probably fit in with the
rest of the formal garden.

Yew is not often used
as an edging to flower-
beds because it is a robber,
in the way of grasping the
best food. In an old
garden we sometimes find
it round a border. Fig. 78
shows how it can be em-
ployed to form a low continuation of a high hedge at the
back. The grass path (C) separating the two half-circles
that are intended for garden seats (A) is not so wide as to
prevent talking between the two. It is a pretty and rather
uncommon idea to place the garden benches so that they
are surrounded — we may almost say embedded — in a
colour-scheme herbaceous border. A narrow path at the
back (E) prevents the roots of the tall yews from
approaching too near the flowers. This plan can be
treated equally well without an edging of any kind, but
with the hedge alone.

It may be useful here to give practical notes upon
planting yew-hedges. The ground should be thoroughly

FIG. 78.

104 GARDENS : THEIR FORM AND DESIGN

trenched two feet deep. Small trees, two feet to two and
a half feet high, should be put in twenty inches apart.
All scraggy pieces are taken off with a sharp knife. The
trees at this time will be ten inches thick, or thereabouts.
They should be well mulched with half-rotten com-
post to keep the frost out, and also to protect them from
over-much sun in the summer. Next year they may be
cut again to the same ten- inch width, and the top should
be clipped to make them level. It is very important that
the plants should not be allowed to grow in height until
they touch one another. Hedges that have been treated
in this way measure three feet high and fifteen inches
wide seven years after planting ; others, when twenty-
seven years old, measure seven and a half feet in height,
and are three feet wide on the top, and densely thick. So
often we see what is called a hedge, but any animal can
force its way through ; and this proves that the treatment
has not been thoroughly satisfactory at the outset. The
secret, therefore, is to clip hard each September, and
mulch to nourish the roots in August. Should turf be
near the hedge upon one side, always put the mulch upon
the other side if possible.

It is curious to note, in some very old gardens, how
yews and other trees have outgrown the original design
and meaning. In an old Tudor garden some very tall,
fine yews completely overshadow a long narrow terrace
near the grey stone house. Attention is drawn to it by
the way the trees darken the windows. Upon looking
closer, we find that when first they were planted they
were small narrow sentries placed at the corners of grass-
plots. They grew and grew, and each year encroached
with their roots upon the grey coping-stones that sur-
rounded the small square beds made for them. Now the
stems are wide and thick, and in places they have burst
asunder the stonework. It lies in some cases broken
beside the tree. In Tudor days, when the garden was laid

TOPIARY

105

out, it was a terrace for sunshine ; now, with the protection
of the great yew-boughs, it is a shadow garden.

Thus the lover of natural trees rejoices in them, but
those who long for sunshine and light near the small
windows of a house regret the negligence of the topiarist.

It is in June that the shears are busiest ; but to keep
box really well trimmed it should be continually clipped.

Nothing looks neater for a box-hedge than to have large
turrets clipped square and about two feet broad at the top.
These stand up at intervals and break the straight line.

A charming garden is one with four- feet-high box-
hedges. Upon one side of the archway is dark green
box, and the other side has the variegated kind. Thus
a differently coloured background is obtained for flowers.

io6 GARDENS: THEIR FORM AND DESIGN

Above this hedge are arches of pink roses. Lovely views
of bright flowers grown in a garden beyond are to be had
between the box-hedge and the roses.

All the suggestions given are within the reach of those
who own gardens. Each man will select his own style,
and either carry it out himself or superintend the gardener.
For the very ambitious Fig. 79 would form a striking

centre to a circular garden. It
would take a long time to grow up,
but what an interest and amuse-
ment it would be to successive
generations, and what games of
hide-and-seek could take place in
and out of the archways ! The
most wonderful piece of topiary
work can be studied upon a page
FIG. 79. in 93 D, 61, in the Engraving De-

partment of the Victoria and Albert
Museum. It is called " De Cleefse Linde-boom," but
should only be looked at as a marvel, not as something
to be copied.

In alluding to it we may have transgressed the limits
of admiration of even the most liberal investigators of this
ancient topiary craft. Many will join with Pope in
making mock of the eminent cook whom he mentions in
his " Gardener's Catalogue." This gentleman beautified
his country seat, we are told, " with a coronation dinner
in greens, where you see the Champion flourishing on
horseback at one end of the table, and the Queen in
perpetual youth at the other." Despite these remarks,
and although some still look upon such figures as the
mere " toys" of Bacon's essay, there are others who will
find enjoyment in selecting the right place for them in a
garden.

WATER - GARDENS

FORMAL WATER GARDENS

IT is matter for regret that often leaders of men, so
numerous and multifarious are their duties, have not
time to put upon paper the theories and valuable
experiences they have acquired. Thus much that would
be of infinite value to those who come after is transmitted
orally, and given to the world in a book written merely
by a past student or an admirer of the great man. We
do not get his exact words, but only a rendering of what
his exceptional brain-power was able to acquire.

The garden designer who attempts the vast study of
water as connected with gardens, a study which alone
would fill many books, is at the outset met by this obstacle.
If he could but conjure up the spirit of the great Le Notre,
it would not be so much of bosquets, terraces, parterres,
and hedges that he would talk with him : his questionings
would chiefly relate to one subject, that of water.

Unfortunately there is but Le Notre's mouthpiece,
d'Argenville, to tell cursorily what he learnt from his
master. The only way, therefore, to follow his teaching
is by careful personal observation of those works of his
which remain, and to piece together, from knowledge of
his life and his wanderings in other lands, whence the
pictures and ideas came which he was able so skilfully to

107,

io8 GARDENS : THEIR FORM AND DESIGN

assimilate and reproduce. He had the traditions of his
father and grandfather to build upon (for they also were
gardeners), and, further, he combined with this practical
side strong artistic tastes, which had been developed
during his studies of painting under Vouet. He was
great enough, too, to know that he alone would not be
capable of laying out so stately and magnificent a garden
as Versailles, but that he must depute a certain number
of departments to others. He therefore chose La Quintinie
as director of the kitchen gardens, and to Le Brun he left
the selection of sculptors for the statues and figures.

In all works connected with engineering and the
management of water gardens and fountains Le Notre
was assisted by clever Italians, the Francini family, Counts
of Villepreux. We can understand his choice falling upon
Italians for this, because from earliest times we read of
the beautiful and original water gardens of I taly. Whether
it be Pliny's garden, where light dishes for his repast
floated upon the still surface of the waters and heavier
ones rested upon the banks ; or the water-staircase of
Pompeii ; or, again, the thunder of the great cascade at
Villa d'Este, as the Arno comes sweeping down the high
mountains to form it — one and all of these varying effects
were part of the life, the soul of Italy. It was natural
that this should be so, for the heat of the sun made men
long for refreshing shade, accompanied by the soothing
sound of water and its misty coolness. Then, too, the
villas being in mountainous situations for the sake of fresh
breezes, there were usually strong, boisterous torrents,
which could be utilized either as dashing waterfalls or, if
restrained, could be calmed to form still pools for reflection.
Much that had been long before known and practised in
the gardens of the Great Moghuls was adapted, with
possibly even more vivacity and imagination, by the
Italians. The Medes and the Persians used as a symbol

WATER GARDENS 109

of everlasting life a tree with a spring of water at its roots ;
and this same idea, a feeling that water is the life, the
mainstay, and the chief ornament of a garden, was firmly
ingrained in every Italian. Thus it was no doubt from
Italy that Le Notre learnt how to gain animation, gaiety,
and sparkle from dancing, foaming, agitated water ; how
to secure the grandeur of the thundering cascade or the
murmuring, whispering, rioting sounds of running water.

We feel sure, too, that, in order to complete that
charmingly graceful " Theatre d'Eau " painted by Cotell,
where tall single-spray fountains rise against dark recesses
in a half-circular yew-hedge, he must have studied many
of the spray fountains of the Generalife and Alhambra
gardens. It was after wanderings through the silence,
dust, and glare of the desert that the Arabs sought the
cool sound of bubbling, trickling, falling water, the shadow
of trees in these Spanish gardens. There is a proverb of
the Moors, adapted from the Hindu, which says that three
sounds are dear to a man, the chink of gold, the voice of
the woman he loves, and the noise of running water.
Certain it is that in Spain they fully understand how best
to obtain this soothing, restful music, and also how to lead
water to rise in slender diamond-sparkling sprays so that
rainbow hues are sent into the air and fall again lightly
like dew upon flowers.

What more practical, and yet more fairy-like, effect
could be achieved in any garden than to leave small
crevices between tiles or bricks of paths, through which
sprays of water rise gracefully and fall, as the wind carries
them across an adjoining herbaceous border ?

There was another country from which Le Notre took
ideas, and that was Holland. If beautiful, clear, vivid
water-reflections are sought (and these, after all, are what
give most pleasure in a scene that is much before our
eyes), water must have a quiet surface. Should the banks

no GARDENS: THEIR FORM AND DESIGN

admit breezes through gaps in the surrounding brushwood,
and water become ruffled and unsettled, the scenery will
not be clearly rendered in it, as in a mirror.

Observation teaches that reflection — from houses, trees,
or other features — is best attained when water is sunk
below the ground around it. For the prettiest effect
strong light should be behind the spectator. Thus the
long, narrow, still canals of Holland are reproduced in a
measure in some of the gardens of Le Notre, and traces
of this teaching are seen, too, in the waterways of Hampton
Court, which undoubtedly were influenced by him.

Therefore, he who contemplates this study of water
gardens should not only employ skilled engineers and
brilliant sculptors, but he needs also to be an artist of
colour and somewhat of a musician. It is by rendering
well and with proper restraint these four necessary parts
that the full value of water for ornamental purposes is
attained. At Versailles it is not only the difference in
shape of some of the closed-in, silent pool gardens, the
varied mouldings of stone basins, or the different
allegorical meanings of beautifully carved Neptunes and
mermaids of stone, but also the clever study of colour
and light that we admire. Thus too, in the cascades,
bouillons, gerbes, and berceaux, the Magician's Wand has
gained the very best effects by means of proper handling
of two totally different powers, that of agitated water and
that of still mirror-like lakes.

For a very formal water garden, in a show place, nothing
better could be copied than Perelle's view " du Marais
d'eau a Versailles." Noticeable in the picture is a
square pond, edged with reeds, and in the centre of it an
island with one large tree growing upon it. Tall fountains
of water surround the tree and send sprays up into it.
The part of the garden specially suited to a large place is
that which is near the marble edge of the water-basin.

WATER GARDENS

in

Here is a walk wide enough for groups of people to
circulate, and at the back of it are three high steps having
the appearance of a raised formal dais. Behind this
again, with delightful corners and angles, is a high
treillage fence, which surrounds the whole garden, and
gives a feeling of seclusion and privacy (Fig. 80).

It must have been in some such garden as this that
banquets were
held as we see
them in old
French prints,
quite close to the
water's edge. So
near to the foun-
tain - basin were
tables placed that
flowers and silver
were reflected in
the water. At
either end of the

tables stood woodwork " loggias," where guests were
seated, and these and all the treillage fences that
surrounded the garden were brilliantly illuminated. This
kind of fete champetre could hardly take place with safety
in our grey climate. Yet it is pleasant to dream of what
was possible long ago in other lands. We read accounts
of Hadrian's Villa, where was an out-of-door Triclinium
or banqueting-hall. This was upon an island, and walks
led in different directions, crossing the stream of water,
to other parts of the garden, which was confined by a
high wall.

Another delightfully formal island garden is given on
p. 112. Its landing steps lead up to a path which surrounds
the square ground and forms a sort of narrow terrace
overhanging the water. Then comes a high yew-hedge,

FIG. 80.

ii2 GARDENS: THEIR FORM AND DESIGN

WATER GARDENS 113

with windows at the sides and round clipped balls at each
of the corners. A yet higher yew-hedge encloses a
further secret garden, where tall trees surround what is
apparently a high spraying fountain. We long to take
boat at once and explore this island of mysteries !

In every garden it is this something out of reach, and
yet attainable to those who search, that gives interest and
excitement. Thus, from some suitable point of view,
three alleys, or vistas, cut through trees will make us
long to know to what they lead. The centre one is wider
and more important than the others, and at the end of its
tapis vert, upon a circular lawn, is a handsome stone
fountain. The other two vistas have groups of orna-
mental terra-cotta pots placed upon pedestals, and
apparently they stand in the centre of bosquets, to which
these alleys lead. Such a garden with formal features
should be near a house, because farther away we need
rather more natural objects.

Hitherto we have dealt with those somewhat important
water gardens which can only be carried out where
plenty of men are employed, and therefore the larger
upkeep necessitated has not to be considered. It is in
Italy chiefly that we find models for medium-sized water
gardens, where utility in the way of suitable tanks for
dipping water-cans is combined with some degree of the
picturesque and paintable.

Fig. 8 1 is a garden that could easily be adapted either
to a kitchen garden, or to a reserve garden, or to pleasure
grounds. The circles would be nice for seats, which
could be placed in the shadow of the spreading trees ;
and from these we could get a pretty view of the well
that supplies this garden with water. A four- feet-high
wall surrounds the well, above which is seen the handsome
stone well-head with iron ornamentation where the water-
bucket hangs. Small decorative pots of every description,

H4 GARDENS: THEIR FORM AND DESIGN

with flowers in them, stand upon the wall and give interest
and colour to it. If instead of a well an open tank can be
contrived, the wall round it can be considerably lower,
perhaps only sufficiently high to make a barrier, so that

FIG. 81.
B, The Well

children whilst playing hide and seek do not slip and fall
in. Then the flowers in the ornamental pots will be
reflected in the water-tank as they stand upon the brick-
work. Further life can be given by having a fountain to

WATER GARDENS

play in the centre. As usual in Italy, the beds here are
outlined with stone slabs, upon which, later in the
summer, tall orange-pots will stand.

In England we hardly make sufficient use of flowers
grown in ornamental pots and boxes. If it be possible to
stand them close to the edge of a still pool, the effect of
colour in the water should be almost more attractive than
the actual pots themselves. Often, where old gardens can
be traced back many hundreds of years, we find one or two
long narrow-shaped pieces of water, bricked round and in

A, Water-lily tank
^ B, Clipped box-hedge;

C, Paths ;

D, Herb-beds ;

E, Border of pinks.

FIG. 82.

connection with each other, possibly one lying at a con-
siderably lower level than the other. This betokens
that long ago a monastery was here. In these quiet
pools the monks had the fish so necessary to them for
fast-days in Lent, and now the name of "stew-pond" or
"fish-pond" is all that remains to remind us of them.
It is a puzzle to know how best to brighten so deserted a
spot. One way is to stand handsome orange-pots or any
other attractive terra-cotta or pottery jars along the
edges, placing them three feet or five feet apart and so
near the edge of the water that bright flowers in them
are well seen in the water below.

n6 GARDENS: THEIR FORM AND DESIGN

For a formal water garden near a house something like
Fig. 82 is suggested. In the centre is a stone-edged
water-lily tank. It is circular, and surrounded by a
clipped box-hedge, which is not much higher than the
stone coping round the tank. Then comes a walk, and
next to it are beds of herbs. The four paths that lead to
this central feature have an edging of pinks upon either
side. Large orange-trees are placed at four corners,
behind the herb-beds, and thus graduated height, sloping
upwards from the tank, is obtained.

Distribution of height requires as much study as correct
and proper width of paths, all of which has to be left
chiefly to the judgment and sense of proportion of the
designer. No absolutely fixed rules of correct measure-
ment can be laid down, as each place needs different
treatment, according to its varying surroundings and
requirements. When large orange-pots are suggested,
the idea in English gardens is to utilize them for many of
our lovely flowering shrubs, such as hydrangeas, lilacs,
choisyas, myrtles, and possibly bay-trees. Each owner of
a garden will have his own favourites amongst these.

Where, in a small garden, the expense of building
cement tanks cannot be contemplated, and yet a small
formal water garden is desired, the following suggestions
may be suitable : If the garden is upon a slope, it will be
effective to level several terraces, making the greatest width
of each horizontally along the hillside. Upon the upper
terrace a large square galvanized water- tank can be sunk
level with the surrounding ground, and into this the rain-
water from the roof of the house will flow by means of under-
ground pipes. Two narrow flights of steps, made either
of stone or of disused wooden railway-sleepers, lead down
to the next terrace, where is a simple water-lily tank
garden, made with the help of disused children's travelling-
baths, and an empty paraffin cask cut in two to form two

WATER GARDENS 117

circular tubs. Water can be carried again by pipes to
these various receptacles. Should rain-water at any time
be scarce, it will be necessary to fall back upon the
permanent supply tap, and conduct water from it by means
of an indiarubber hose to the water-tanks. Another
simple and inexpensive way of filling a tank occasionally
when it gets low is to have a funnel-shaped receptacle
placed below the permanent water-supply tap and in
connection with it run an underground pipe to the small
terraces. The tap can then be turned on and allowed to
run freely through the funnel whenever the tanks are
depleted. Such a garden, with water-lilies floating at the
surface of the small tank, and pretty flowers, like yellow
alyssum, white pinks, or many coloured pansies, dipping
their little faces in the water, will give as much pleasure
to the owner as the lovely sunk garden at Kensington
Palace, with all its accessories of pleached limes, lead vases,
stone piers, wrought-iron gates, and ornamental lead- work
water-cisterns, gives to the public. All sorts of little
experiments in reflection can be tried. For instance, tall
tulips planted in groups of two dozen or so close to the
water will look lovely, and give a sort of Dutch appearance.
Then, too, it is said that Myosotis palustris if planted
near water is always in flower. It is not great size that
tells in an aquatic garden, but the personality of the man
who selects the plants and arranges them. This is
evident from the success of Mr. Burbidge in his com-
paratively small one at Trinity College, Dublin, where
the happy arrangement of tall clumps of bamboos to break
up ground near lower plants made it not only of interest
botanically but also artistically beautiful. We find that
these ideas of small tank gardens go back to the time of
the Romans. The peristyle of the Vestal Palace, which
measured about 180 feet by 48 feet, contained two small
marble-edged, rather oblong water-tanks. A rather

Ii8 GARDENS: THEIR FORM AND DESIGN

curious pattern of paths was at the end of one tank.
Beyond this a small block of stone is supposed to have
held a miniature garden. Round the whole was a
colonnade for walking (Fig. 83), so that all these
interesting features could be looked at through the arches
of the shadow walk.

FIG. 83.

Let us now consider somewhat of the past and present
history of water gardens in England. We shall find how
far behind other nations we are in the use of it for
garden design.

During the Middle Ages pictures show that water was
chiefly used for irrigating gardens. A few beautiful
carved-stone fountains are introduced ; but otherwise,
beyond tanks for bathing, ponds for fish, and small

WATER GARDENS 119

channels which conveyed it from one small garden to
another, it was not for ornament that water was
employed. There were other purposes for which these
small stone-faced conduits were utilized, since we read
how lovers sent little folded paper messages of love to
the lady's bower by entrusting them to the stream that
passed that way. We can imagine how dexterously alert
the lady must have been to distinguish her special love-
letter, and quickly snatch it as the narrow crystal stream
swept by.

The real joy of splashing, dashing, life-giving fountains
was not known with us even in Queen Elizabeth's time.
Paul Hentzner, in his travels through England during
her reign, describes the following in Whitehall : " In a
garden belonging to this Palace there is &jet d'eau, with
a sundial, which, while strangers are looking at a quantity
of water forced by a wheel which the gardener turns at
a distance through a number of different little pipes,
plentifully sprinkles those that are standing round."
Evidently, from the account this was considered an
astonishing feat of ingenuity, and it would not have
been possible for many gardens to afford the luxury
of devoting the time of a gardener to the occupation
of wheel-turning, where only one jet d'eau was the
result. It is indeed surprising, when we compare this
account with the marvellous descriptions of the water
gardens of France, created only a short hundred years
later, to think that it really was chiefly through the observa-
tion, ingenuity, and inspiration of one man that they
reached the high art they attained at that time. The
subject was studied then as it never had been before and
never has been since.

Writh all the motor power we now possess it is compara-
tively easy to obtain an ample supply of water in gardens
where money can be spent upon it. In spite of this, in

120 GARDENS: THEIR FORM AND DESIGN

England we seldom come upon spirited, vivacious water
gardens. Neither do we find still pools of water, carefully
planned as regards their surroundings, their depth, their
colour beneath the water, the necessary height of the bank
above the edge, and the selection of foliage, trees, and
other objects which will give good colour-reflection.

What is more familiar are large and somewhat evenly
shaped lakes, open expanses of water like the Serpentine,
which are enjoyable from a feeling of the fresh lung-filling
air that they bring to Londoners, but in no sense pic-
turesque as regards the light that plays upon them or the
shape or planting of their banks. Neither do we come
unexpectedly, in some grassy silent glade, upon a tall,
slender spray-fountain. This is perhaps the greatest joy
of all, when through an opening in the dark wood it
suddenly bursts upon us, the tall, graceful form seeming to
compete with high trees to see which will get nearest to
the sky.

In our climate we do not need the plentiful supply of
these that is necessary in hot countries to cool the air.
But if placed sparingly in show places, somewhat distant
from the house, they would have a more beautiful effect
than anything else. Surely in private pleasure gardens
more study should be given to this great art, and the
designer should aim at more than a mere sheet of water
where boys can sail toy ships or a few rare water-lilies
are planted.

A large field of delightful and comparatively unexplored
ground is open to the owner of large gardens and to
the garden designer of future times. The subject is a
complicated one, for it embraces a considerable knowledge
of perspective in connection with the angle of reflection.
Then, too, much in the way of experiment has still to be
made as to the colour of water, not merely derived from
proper shaping and planting of the banks, but also from

WATER GARDENS

121

the colour of the earth beneath it. The study of natural
lakes and pools, as, for example, the Silent Pool in Surrey,
teaches us, what the garden designer should achieve by
proper observation, without the use of coloured tiles or
artificial means. We are only now, therefore, upon the
borderland of what will be done, and it behoves the dweller
in the suburban villa to study reflection in his tanks and
water-lily tubs, just as the owner of large parks and grounds
should feel inspired to experiment upon his lakes and
pools.

INFORMAL WATER GARDENS

SO far, only those gardens have been considered
which are formal in character. Let us see what
the future garden designer can learn as regards the
informal treatment of water. In these brief chapters it
is not possible to include the various ways of obtaining a
supply of water or conveying it to the water-basin, pool,
or lake. It is from the ornamental point of view that
water is here considered ; and this branch alone is
important enough to fill many pages.

In dealing with a lake which is seen either from the
house or from a general position in the grounds, perhaps
the indentation and the varying heights of the line of bank
are what matter most. These two points affect the stillness
and the colour, and therefore, as we have already seen in
formal water gardens, the number of objects clearly
reflected depends largely upon the shape and height
of the banks. Long or short promontories, the features
placed upon them, the colour of the trees chosen, and
the angle at which they are planted, whether overhanging
or far inland — these are all questions to be decided.

Therefore, the contour has to be considered in all its

122

INFORMAL WATER GARDENS 123

various conditions, not from one fixed spot, but from
numerous points of view, and not only at the time when
it is first pegged out, but repeatedly after the banks have
been thrown up and are beginning to settle, when varying
heights are often achieved naturally.

FIG. 84.
A, Curvature of outline ; B, Raft with irises.

The Japanese have made careful study in contour lines
both of hills and of water-beds. Probably no nation has
such fixed theories and principles of garden design ; and,
since their chief aim is to copy Nature as accurately as
possible, we learn much from observation of their work.

Fig. 84 is a quite ordinary example of the shape they
would choose for a lake, and there are many points about
it worth noticing. For instance, the summer-house and

124 GARDENS: THEIR FORM AND DESIGN

temple are placed in the narrow part, where they will
best be seen reflected. The small curvature of outline
gives scope for planting some special flower or some
particularly noticeable plant, which will add to the
picturesque view from the summer-house. Perhaps a
raft made of wood will be secured to the bank. Earth
is placed in the small divisions, and irises will flourish
there and their blue and dark mauve be reflected in the
water. We know that, as regards happy effects of light,
objects such as trees, water, hills, all natural objects,
in short, appear best with the sun behind them, whilst
houses, boats, cultivated fields, villages, and artificial
objects look best when the sun is full upon them. It is
well to bear this in mind when placing features such as
sheds or boat-houses, or when considering what distant
views to admit by opening out a woodland glade. The
chief note of colour in this lake garden, which goes by
the name of " the Floating Island," is red. This is seen
in the colour of the summer-house and adjoining temple,
of which the woodwork is red. The paper lanterns hang-
ing from the roof add to this impression, for when lit up
at night they are orange and red. Here and there large
rocks project into the lake and make an uneven line.
Cotoneaster horizontalis is largely planted near these, for
its spreading habit and dark green foliage make a happy
contrast to the grey stone. Other tall, dark green trees
mingle with the massed groups of red maple, which are
placed in positions where they will best be seen reflected
in the water.

The shape of the lake is good, because it will be noticed
that it disappears from view. Thus a much larger
appearance is given to this sheet of water than if it were
spread in one direction before the spectator. The
Japanese are most accomplished masters of restraint in
all design work, and in gardens it is wonderful how much

INFORMAL WATER GARDENS 125

variety of height and colour they compress, without any
artificial appearance, into a small area of ground. Whether
in the matter of building, tree-planting, or decoration, there
is never with them any exaggeration. All is simple and
natural, and each tree stands out clearly detached from
its fellows, so that every beauty of form and leaf is well
seen. We notice the simplicity of a little Japanese
thatched roof which projects over a well, or similar
objects that it would be nice to reproduce in any small
garden. If a willow-tree is planted near to overshadow,
such pictures are complete.

Then, again, how simply they contrive a little bridge
across a narrow stream ! I n the water a small pile of bricks
is neatly built up, and upon these are placed the ends of two
long narrow stone slabs, which extend from bank to bank.

But, to return to the garden of " the Floating Island,"
let us consider how best we should plant the banks if it
were to be looked at from an English country house.
Should winter be the time when it will be most seen,
masses of evergreens, such as hollies, and ilexes, should
stand between the deciduous trees. Plant them or thin
them, as the case may be, so that groups of seven or more
of the same kind of tree are together. Then, to give
colour near the water, and to have reds and yellows
well reflected in it, plant all varieties of willow, the golden,
and still more the red kinds, and the red dogwood. All
these will be in bold groups, so that even in dullest winter-
time the effect is strong. For water-reflection in summer-
time, there is nothing more telling in its fresh bright
green leaf than an oak-tree, sparingly placed to overhang
the banks from amidst very dark evergreen trees. White
Guelder roses, too, if used singly near red foliage are
lovely.

To give greater incident, clearings in the woods should
be made in places, and grass banks should here slope

126 GARDENS: THEIR FORM AND DESIGN

down to the water's edge, without brushwood, but with
great sheets of flowers to lend colour.

Here should be hellebores and the wild fritillary, if only
it would be friendly and grow as it does at Oxford.
Bulbs of all sorts should succeed each other — snowdrops,
crocuses, winter aconite, Solomon's seal, daffodils — but
planted by the ten thousand, not in a few hundreds,
when they are really hardly noticed. Each little grass glade
should have its own succession of flowers as close to the
water's edge as possible. Primroses and bluebells, too,
must not be forgotten, followed later by foxgloves and
verbascum. The grouping should be irregular and bold,
for without this labour is in vain.

Perhaps an island occurs in the lake, or maybe one has
been artificially made. If so, it will look best when it is
well raised above the water and appears to be higher than
the banks that are round the lake. The contour-line of
the island should not follow the shore-line closely, but
should have irregularities of height and indentations. As
a rule, it does not make a good picture to have the island
in the middle of the lake. Should this occur, it is possible
by means of some small optical delusion to alter this and
deceive the eye of the spectator. For instance, trees such
as alders can be planted upon it to overhang the water
and thus make it appear closer to the mainland upon that
side. Or floating iris- rafts can be moored to it, or reeds
planted in the water to help extend its contour-line.

It is not in many gardens that we are fortunate enough
to find a lake or the possibility of making one, but a very
charming water garden can sometimes be formed in a
sloping grass glade, where water is carried in a natural
way by means of an open cement drain led in irregular
curves and bends to be caught in basins and pools of
various shapes and sizes. Thus a small streamlet may be
made to look like pearls threaded on a string. Stepping-

INFORMAL WATER GARDENS 127

stones are put in the pools, if they are shallow, to lend
excitement to the walk that follows the line of water.

A spare portion of a kitchen garden was once utilized
to form an aquatic and bog garden. The ground was
upon a slope which ran down on the north side ; this
meant shadow for the plants. The place for the proposed
stream was dug out, and the earth excavated was heaped
up to form high banks where it is shown upon the plan.
Water was laid on near by, and all that had to be done
was to connect it with the pipes laid down in the water-
course which is shown. It was easy to so manage the
excavations that small cascades, waterfalls, and pools were
contrived at intervals, and thus the varying music of
bubbling, rippling, falling water lent enchantment. The
dotted line indicates the path which was laid down with
stepping-stones made of old pavement slabs. In one or
two places it could be made to cross the stream, in order
to make it possible to look more nearly at some of the
moisture-loving plants. This sketch is given to show
how easily a waste portion of ground can, if necessary,
be utilized for such a purpose and made very attractive

A delightful stream garden is contrived in another way
if there happens to be a reservoir from which water can
be obtained. A deep trench is dug, about six feet deep
and five or six feet wide. Below this trench pipes are
laid, and water flows into them from the reservoir. At
the termination of the winding, snake-like course
pursued by the ditch the paths are turned back, and the
water is allowed to flow out into the ditch and return
along it to the reservoir. Thus an artificial flowing
stream is formed. The earth that is excavated to make
the ditch, with other soil besides, is thrown up upon
either side of the stream, and moisture-loving plants are
planted on it and also close to the water's edge. Tall

128 GARDENS : THEIR FORM AND DESIGN

flowering shrubs on the high banks give additional height
and shade. Here and there stepping-stones lead across
and there is room for a narrow irregular path on a level
with the water, so that all the little plants can be well
seen and picked. It would seem almost that we were

old tree stumps to be put
and tp be planted With
Ramblers or Wichurianas

v, To be

; fined with

' aquatic or

moisture loving

plants,

Moisture
loving
plants

Arch in
the Screen

Note; The dotted lines sre to
indiddte stepping stones.

FIG. 85.
A, B, C, Old path, border, and wall.

walking in the stream so close to the water does the path
take us ; and upon a level with the eye, and even higher,
are rock-plants and shrubs full of colour (Fig. 86).

When we consider the many appliances there now are
in England for watering gardens, commencing with
motor-power engines to drive it from a well to a tank ;

INFORMAL WATER GARDENS

129

hosepipes of every description, from "armoured" to
"flabby" ones, stand-pipes and revolving "sprinklers,"
it should be possible for us to contrive water gardens which
not only are pretty like the ones described, but also will
enable the gardener to
use water freely for
practical purposes.

How hard the poor
Italian market-gardener
has to work compared
to our men ! As we
look down from the hills
in Italy upon valleys
where the vegetable
market-gardens are, we
see him after sunset
wielding a long-handled
implement, attached to
which is what looks like
a child's toy bucket. As
the sun sinks after a
scorchingly hot day he
scoops water out of the
small dykes that divide
his garden plot and
throws it repeatedly over
spinach and cabbage

beds. He continues for a long time, because it is neces-
sary to give a thorough watering or none at all. Then
upon the hillside he lays a short length of iron gutter
in the stream that courses down the garden, and this
conducts the water into one of the large oil-jars which
are used there in place of tanks. This is indeed a
primitive means of irrigation, and yet we know even the
indolent Italian will spare no bodily fatigue when it is a

9

FIG. 86,

A, Stepping-stones; B, beds of Primula
japonica, or other choice flowers.

130 GARDENS: THEIR FORM AND DESIGN

question of the produce suffering. Like'Izaak Walton,
he knows that " The water is more productive than
the earth. Nay, the earth hath no fruitfulness without
showers or dew, for all the herbs, flowers, and fruit are
produced and thrive by the water."

CARD] NS

WHILST all the English world is occupied in
buying small plants with which to form rock
gardens, it may seem presumption to suggest
that there are certain gardens that would be decidedly
more restful without an attempt at so difficult a style of
gardening. Unless a rock garden is likely to be abso-
lutely natural-looking and harmonious with the surround-
ing garden landscape it had best be restricted to one of
the humbler forms, such as what is called " dry wall "
gardening, for which nearly all can find a happy place.

The advantage of this style is that we can more readily
find a position for it near the house, where these rock walls
will in no sense clash with architectural formal lines.
Thus the difficult question of design is made easier than
if we had to seek at a distance the wild or semi-wild spot
that would alone be suitable for a rock garden proper.
This study of design is perhaps the part of garden craft
most sorely needing attention in English gardens.

Let us consider, therefore, how best to find suitable
surroundings and homes for those precious plants which are
so often seen in small pots, packed in wooden boxes with
" Perishable " written all over them, awaiting the good
pleasure of the head-gardener at a country railway-
station. The lady of the house has evidently fallen a

131

132 GARDENS: THEIR FORM AND DESIGN

victim to their beauty at one of the large London flower-
shows ; for, regardless of the time of the year, the state of
the ground, or any such details, she has ordered a con-
signment in full flower to come at once and decorate her
garden. All true garden-lovers would wish to see these
small gems, which go vaguely by the name of " alpines "
in horticultural catalogues, in a position where they can
be watched over and tended without the risk of being
overgrown by taller plants, which there always is if they
are put in a large herbaceous border. It is for these that
the humbler forms of rock garden are useful.

DRY WALLS

Often an old garden merges almost unconsciously into
the park ; that is to say, we are led by grass openings
between tall trees to a boundary where garden ends
and park begins. It is possible where there is an ancient
" ha-ha," with its supporting wall formed of old stones, to
steal a bit of it for garden purposes and let the park be en-
croached upon to some small extent. Should there be cattle
grazing there it will be necessary to put a sweet-briar, or
some such prickly but natural-growing hedge, to prevent
their invasion of the new garden domain. This can be done
in such a style and shape that it will not attract the eye
or look artificial ; it must be at some distance from the
" ha-ha," so that sunlight falls upon the old wall. This
rock garden will best be seen from a grass walk below,
for we can then stand and look up at it.

Upon the top of the wall is a good-sized bed, in which
are planted, somewhat sparsely, and at intervals along it,
Wichnriana roses, clematis, and other creepers that fall
down gracefully over it. They must not be allowed to
encroach too much, to become matted together, or in
any way to interfere with large free spaces in the wall,
because it is in these that will be found homes for the rock-

ROCK GARDENS 133

plants. The stones forming this wall have been there long,
and so there are plenty of large chinks between them, in
which flowers like Erinus alpinus and aubrietia can be
planted.

Where the gaps between the stonework are very small,
and there is not room to fix small seedlings with the hand,
it will be best to make a sort of wet paste of soil, into
which to put seeds of alpine plants, and then to secure
it firmly in the little crevices and holes. In due time
small sturdy plants will appear and flourish.

Should the " ha-ha " wall chance to face the west, and
thus not have too long a spell of noonday sun upon it, poly-
anthus will find a happy home in a bed below. This
should only be a narrow, natural-looking, irregular planted
bed, so that from the grass-walk at the bottom of the ditch
we can walk along and see them below and gain a good
view above of the rest of the wall garden. A rising slope
upon the other side, planted with azaleas, yellow and white
broom and gorse, all in big bold patches, partially hides the
sweet-briar hedge which protects from inroads of cattle.

This same idea of rock wall gardening can be carried
out in walls built specially for the purpose ; that is to say,
whilst the wall is being built a few of the small plants
can be planted between chinks, to hang over the stones.
Care must be taken to tip the stones back, so that the
moisture soaks in between the joints. But all these
important details can be learnt from many of the books
devoted to rock-plants alone. We are now considering
only the best position for walls, with regard both to the
healthiness of the plants and to the general fitness of
design in harmony with house and garden. As but
little cement is used in " dry walls," they can only be
considered as retaining walls to banks, and are quite
distinct from " mason's walls," of which we shall treat next.
They are, however, architectural enough to be placed in

134 GARDENS: THEIR FORM AND DESIGN

the vicinity of a house, and what looks best is to have a
three-feet-wide border on the top, so that rather large
clumps of dwarf shrubs can be grown there, whilst smaller
alpines grow upon the face of the walls. At intervals
along it a projecting pier of larger stones is good, and
breaks the monotony of an even surface. Rock cistus
and rosemary, growing together as they do upon the cliffs
sloping down to the Mediterranean, are suitable for the top
of the piers, or a small Cotoneaster horizontals gives the
dark foliage which is so restful when bright flowers are
round it. The Mediterranean heath, too, is good where it
becomes established.

At Siena, where so many banks slope down below the
ramparts, and where large heaps of stones have slipped
and but little soil covers them, bold groups of irises thrive.
They, with wallflowers and stocks, often cover waste
corners where it would seem hardly possible for plants to
find a foothold, and with them are tall spikes of acanthus.
The last-named plant of the beautiful leaf we do not see
enough used in England. Great groups should be grown,
not only in herbaceous borders, but also in spare places
or on dry banks.

EARTH BANKS

It is possible to make a most interesting garden upon a
bank of soil alone, with an occasional big stone so placed
that its weight helps to hold soil from slipping. In sunny,
exposed gardens, where moderate shadow is valued for
dwarf plants, it is easy and effective to build up such a
bank upon either side of the walk. It should be shaped
irregularly, and made higher in some places than in others ;
and if there is a curve in the path it will be all the better
for the bank to follow its course. Old bricks, rubble, or
even chalk stones can be used for the foundations, so as
not to waste too much good soil ; and if a foot of loam

ROCK GARDENS 135

can be spared for plants to grow in, little dwarf alpines
will nestle happily there.

This arrangement is a help to those who do not wish to
go to the outlay involved by stones for either " dry walling"
or a proper rock garden, because, even if there is a quarry
near, the expense of cartage is always a heavy one. It is
also a ready means of getting rid of useless stones and old
bricks, and will give a very great deal of pleasure where
a more important style cannot be achieved.

Another simple way of making a rock garden is by
planting dwarf plants in the crevices between stone
steps. There often are cracks between two slabs of pave-
ment, and as long as these do not occur where the tread
comes the plants will flourish and help to soften the archi-
tectural feature. If stone steps are too important for the
garden, a very good alternative is to use disused wooden
railway-sleepers. They stand a great deal of wear and
exposure to weather, and if little pieces of dianthus,
aubrietia, and arabis are used in the interstices between
the logs of wood a pretty effect will be had. " C'est une
montagne de fleurs !" said an old French bonne, as she
looked up at the garden slope towards the different
flower-crevices which had been so contrived ; for even
the dark wood of the steps could scarcely be seen between
the bright colours of flowers.

MASON'S WALLS

In places where there are mason's walls — that is to say,
not " dry " ones, but where cement has been used — a
different kind of garden can be made. There are two
ways of doing this. Either cracks and holes can be
utilized for seed-sowing, and such pretty things as wall-
flowers, antirrhinums, or foxgloves can decorate them,
with perhaps a marsh rose growing up between ; or stone

136 GARDENS: THEIR FORM AND DESIGN

ledges can be fixed by means of cement, and upon these
small rock-plants can be planted inearth (Fig. 87). This
possibility has been suggested in the chapter on Suburban
Gardens, for it is chiefly in small gardens, where space
is limited, that such an idea is carried out.

There are sometimes ruins near a large house, and
then it adds to their beauty if fine creepers
are grown on them. Should it happen to
be the wall of a castle keep, startling and
garish colours are to be avoided. For
instance, rambler roses, ivy-leaf geranium,
or any strongly coloured flowers do not
harmonize with old buildings, while dark
mauve clematis or passion flower will tone
in restfully with quiet grey walls. Some-
thing sombre and reposeful is needed ;
FIG. 87." with this a touch of yellow snapdragon,
Corydalis capnoides, or even the small white
sandwort, will look best, and the little fern, wall rue.
Amongst wallflowers we may choose Cheiranthus alpinus,
C. mutabilis, and C. Marshalli.

Gardens which have fine walls are specially blessed.
Not only are they useful for profitable things like fruit,
but where they are of architectural beauty and need only
careful and restrained decoration, lovely creepers, especi-
ally some of the rather uncommon ones, look well in
themselves, and help to enhance the appearance of the
brickwork.

It is always useful to note any happy effects of colour
or position, because they can be utilized in different
gardens ; for instance, Aristolochia sip ho does well on a
wall facing east. Then, again, what delightful plants
can be arranged in groups at the foot of a wall ! They
have shelter and protection, for, next to sunlight, plants
love best freedom from draughts and cold freezing winds ;

ROCK GARDENS 137

and they have a becoming background. Beneath one
facing south-east, stone-crops and " blue-eyed Mary"
form a carpet for violets, musk, clumps of Christmas
roses, paeonies, and white lilies, and a few ferns and tiger
lilies interspersed are good for such a position. Such
wall gardens cannot, however, be considered true rock
gardens. They are only helpful where there is either
insufficient space or, as in a suburban garden, where the
boundary-lines are formal, and there is no suitable place
for an arrangement of natural rocks or for banked-up
terraces on a large scale.

ROCK GARDENS

We are restricted as regards suitable positions for rock
gardens by the proximity of large trees, which rob the
small alpines of food and sunlight ; and if buildings are
too near we feel a lack of harmony. Such imitation of
Nature should be removed from straight lines.

Where skill in garden design comes in, therefore, is in
placing the garden in absolutely harmonious surroundings.
And here it may be urged that a careful study of Conder's
" Landscape-Gardening in Japan " will help enormously
towards developing observation in this. No one looking
at a Japanese garden could for one moment think that it
was arranged without extreme thought. It is evident
that each detail is studied ; but we can see that it is
design inspired by Nature. The aim is, as is pointed
out under " Water Gardens," to reproduce accurately in
miniature, and in true and exact proportion to the size of
the place, a mountain, a hedge, or a lake in the natural
scenery of their country. In addition, there are the laws
and theories by which the garden craft of the Japanese
is governed, which are almost beyond the power of a
Western mind to unravel. Considering that they have

138 GARDENS: THEIR FORM AND DESIGN

been the study of their philosophers, sages, and poets for
many centuries, it is not surprising that only a superficial
understanding can be hoped for.

The true aim of a rock garden should be to reproduce
in miniature a rugged mountain scene. In England we
do possess certainly one most successful imitation of the
Alps, and the arrangement of stones, running water, and
distant mountain peak is all rendered in such admirable
proportion and good taste that it is with some difficulty
we restrain ourselves from believing that truly it is the
Matterhorn in miniature we are looking at. There are,
however, but few gardens where space can be afforded
for such a wonderful representation of a natural wild piece
of scenery. Not everyone has the stone, water, plants,
and, above all, the years of patience necessary to carry out
so big an undertaking. Where it can be done, then it is
indeed an achievement to be proud of. But let us
consider more the humbler kind of rock gardens, and see
whether, by a careful study of Japanese methods of
skilled restraint, something very perfect, natural-looking,
and, above all, simple, cannot be accomplished in smaller
gardens.

Fig. 88 shows the ground-plan of such a garden,
approached by sequestered paths, far from the formality of
the house. The whole intention here is that it shall be
seen first from a low level, and that the garden-lover
shall walk by narrow winding paths between high banks
of earth across a portion of the small pool at A, where
stepping-stones are placed to help him. From near the
little pool he has plenty of space to see the general effect
of the whole garden, and he will notice that it is not, as
is so usual in our English rock gardens, a display of rocks
and not many flowers, neither does it consist of a
botanic garden only of dwarf alpines and no other plants
with them. Here we have a happy unity of purpose.

ROCK GARDENS

139

A ROCK POOL,

140 GARDENS : THEIR FORM AND DESIGN

The banks of earth (i, 2, 3, 4) are wide enough to be raised
about 1 7 feet above the path upon which the spectator
walks, this height gradually increasing to about twenty
feet above him as he advances towards the summer-house.
There are not a great many stones, but those used arelarge,
and grouped together in natural-looking strata. They
stand out, making bold headlines, and frame different

FIG. 88,

views, thus giving shadow-pockets or sun-traps according
to the varying habits of plants. Specially handsome ones,
fine in outline and colour, are chosen for the pool and its
stepping-stones. Should there be space enough, we
might almost encroach upon the Japanese idea of symbolic
names for these, and include some that would bear such an
attractive one as the " Stone of Easy Rest " or the " Seat
Stone." After pausing here to see the water-loving
plants, the many coloured alpines which carpet the banks,

ROCK GARDENS 141

and the small shrubs, such as Cytisusprcecox, Cistus cyprius,
and berberis that flourish towards the higher parts, one
moves on, by paved paths, towards the summer-house at
B, which is on much higher ground, and therefore over-
looks the whole. The impression is that of restfulness.
Whether it be stones, plants, or shrubs, they are grouped
— several stones together, three or four of the same
shrubs placed in what we may express as " careful
irregularity " but close to one another. This is perhaps
the keynote of all natural planting, whereby the eye is
drawn from one mass of the same colour to another
similar one, across an intervening space, which is in
harmony with both. It needs great imagination ; for we
must picture line and shape of hillside before the planting
is commenced, and yet, whilst it is being shaped, we are
composing both colour-scheme and shape of all the plant
and shrub groups that are to be.

Such a garden will require careful watchfulness a year
or two after it has become established, and certain shrubs
which have become too massive may have to be removed ;
or, if they are special favourites, smaller ones over-
shadowed by them will need to be transplanted.

A rock garden is a difficult thing upon which to express
an opinion until we are certain of the length of time it
has been in existence. Some, after the first year, might
appear bare and stony to the uninitiated. Others, older
ones, which have existed some five or more years, and
were perhaps planted by an expert, by whom size and
proportion were carefully considered at the time of plant-
ing, have totally outrun the original intention. They look,
to one who knows, like lanky schoolboys who want new
coats and trousers, so much have legs and arms outgrown
the original garments. In short, a rock garden, once
planted, cannot be left to itself. It needs careful yearly,
even twice yearly, thinning out.

142 GARDENS: THEIR FORM AND DESIGN

A totally different kind of rock garden we are sometimes
fortunate enough to find upon natural slopes, such as the
Surrey Hills, those heights which overlook " the dim
blue goodness of the Weald," and, facing due south, are
almost Riviera-like in temperature. Here all that is
necessary is to form roughly bricked-up irregular- shaped
terrace beds for shrubs such as Choisya, Leycesteria,
Weigela, and many others, with bamboos and yuccas
interspersed, to make it look like Italy. Then, farther
forward, towards the banks upon either side of wind-
ing walks, the small precious things like Fuchsia
pumila, coronilla, and the early flowering Saxifraga
apiculata, and, farther back, perhaps euphorbia and cat
mint, will look well. Here they will be safe from the
encroaching roots of larger plants, and the interested
visitor can find them in their different holes and nooks as
he slowly wanders down the pathway.

Where a garden is more level than that which we
have last considered, it has a good effect, upon either
side of a grass glade, where high trees do not cut off sun-
light and their roots do not come too near in search of
food, to have raised beds of rock-plants. They should be
irregular in height and in shape ; and, should the lie of
the ground allow the grass- walk between them to take a
graceful curve, it will make a pretty picture as we look
back. Little conduits of roofing tiles, with a slightly
concave surface, carry water through these beds and
sometimes by the side of the grass-walk. Should this
little stream not be a natural one, it can be so arranged
that a standpipe turns it on and off at pleasure. Such an
arrangement is not expensive, and the combination of
water with rocks gives a great additional interest to such
a garden. It is even possible to form a miniature
cascade by so placing a few large stones that water will

ROCK GARDENS

143

shoot off them into a small pool below. Such a
miniature rock and water garden can be planted in due
proportion to its size, for all the smallest plants can be
selected for it. Baby white cyclamen, a dwarf magasea
called " Progress," and a dear little daisy-like thing called
Erigeron macranthum would look in keeping. Then, too,
small iris bulbs, such as pumila and stylosa or reticulata,
would all do. Even
Primula japonic a,
if it will flourish,
does not look too
tall near such a
stream.

Where it is not
possible to get far
from architectural
or formal lines, and
where the owner
is yet desirous of having a miniature rock and water
garden, something like Fig. 89 is suggested.

The idea is that it should be approached from the side
where there is no bed to block the view of the island of
stone at D. Upon this rests the somewhat curious ball
of stone (E), overgrown with moss, shown in the draw-
ing ; but any other more pleasing decoration may be
chosen. This answers the purpose well, as it is in no
sense too striking or too formal. Water-lilies are grown
in the pool surrounding the island, and then comes a
narrow flagged path (B), bordered on each side by raised
beds of rock-plants. This design need not necessarily be
restricted to rock-plants, for medium-sized herbaceous
plants would look well in the beds. It is simply proffered
here as a suggestion for a rock garden of formal style if
it is out of the question to attempt a really natural one.

FIG. 89.

144 GARDENS: THEIR FORM AND DESIGN

The important point to bear in mind is, not to be too
ambitious and create a rock garden merely for the sake
of having one, but to restrict its size, proportion, and
style to the garden and its natural surroundings.

A GARDEN is, amongst many delights, the clear
mirror of soul and character, for each owner is
here reflected in his true colours. In the house
he may dissemble, take us in, but in a garden all is
honesty, because no deceit gains admission. Even in
large gardens it is so, for if we find that all arrangements
are left to the head-gardener and that the choice of
flowers and trees is in his hands alone, then we know
the master to be no true lover of Nature. If he were,
he would be anxious as a mother is over the prosperity
and happiness of her children. In small gardens even
more can be learnt about the character of those to whom
they belong.

In these days of motors, when we are quickly whirled
through the approaches to London and other towns, we
do not see as much of suburban gardens as when the
train slowly slackens speed upon a high railway-embank-
ment and we look down from it upon rows of small houses.
The buildings may all be alike, but how varied in taste,
order, arrangement is each plot of ground. Such a bird's-
eye view somewhat recalls to mind the jumble of mixed
garden designs seen at some of our big flower-shows at
Chelsea or Holland House. Here each nurseryman
naturally endeavours to outdo his neighbour in striking

145 10

146 GARDENS : THEIR FORM AND DESIGN

effects, and side by side we find dry wall gardens with
natural-looking rock-plants in their chinks, whilst almost
touching them is a stiff treillage garden of Le Notre's
time. Excellent as are some few of these flower-show
effects, we sometimes wonder if they are altogether healthy
as regards building up good taste in garden craft. Those
who have not made any real study of the progressive
history of garden design, who have never been taught to
think of the lie of the ground or " suitable surroundings,"
are here led to choose a garden much as they would
select a wedding present. They like it for itself and hope
that it will look well in the new home. It is natural that
those who invent pergolas, arbours, and garden temples
should wish to show them to the public and thus quickly
obtain orders ; but to build up a garden in a night is no
criterion of the true qualifications as a garden designer.

Greatly preferable is he who endeavours to make his
own home or nursery garden as true as it can be to its
country surroundings, only keeping in mind how this
actual piece of land ought to be treated, following the
correct precepts of good taste and past learning. I f it be
on a steep slope, then let it be with terraces and pergolas,
but free of attempt at bog or aquatic gardens ; should it
be a wild woodland garden, then show judgment and
moderation in giving only those delicate touches which
enhance, but do no injury to, natural beauty. Then the sur-
rounding landscape has to be considered, and the question
whether the lines of the distant hills should form the basis
for the main lines of the garden to follow. Each new
garden idea has, in short, to be weighed against other
natural values. This, successfully carried out, proves
the master craftsman.

The above is a mere digression from the subject of the
rows of small houses we are hoping to look at more closely
before the train moves on. We only introduce it because

SUBURBAN GARDENS

147

148 GARDENS : THEIR FORM AND DESIGN

a feeling of regret occurs that what is seen at flower-shows
in the shape of garden suggestions is not particularly
elevating, and therefore not good enough for the villa
resident to copy.

We put these little plots of ground to a very severe
test by looking at them from above, and studying them
not individually but as a whole. No doubt, if we were
in one of them we should not be so conscious of aggres-
sively different styles and treatments in the neighbouring
gardens. Yet there should be somewhat more unity of
design and planning as a whole ; and this would probably
come about, if less ambitious designs were aimed at and
an ideal kept in view of what the garden could yield most
in restful nooks, children's play-houses, or flowers, fruit,
and vegetables for the supply of the house.

One thing which is lost sight of in English gardens, as
compared to foreign ones, is the possibility of combining
beauty with profit.

What more perfect tree is there than an apple — so
ornamental in spring, when that beautiful white and pink
blossom puts all other trees to shame, so restful in summer,
and so decorative again with the red-cheeked apples in
autumn. If a grass-plot be necessary for the children to
play round, there is no reason why one or two bush apple-
trees should not be planted in it. They will give shade,
and the good housewife welcomes the fruit for tarts.
Then, too, when a dividing-line is required beyond the
playground, where vegetables begin, put in one or two
espalier apples. By choosing single cordons economy of
space is secured, for they will, like a many-storied house,
take but little room on the ground, and will be the more
useful the higher they grow.

Espalier-trained gooseberries and loganberries do well.
In fact, an able writer of our own day has described a
garden composed entirely of gooseberries. It was a

SUBURBAN GARDENS

149

miniature of Versailles, with statues and a " rond point";
and in the place of beech, box, or yew, were gooseberries.
They were trained in every kind of fantastic shape, such
as we usually see evergreens cut to resemble. The very
delightful style of the writer has perhaps had much to do
with the lasting recollection of such a novel kind of garden,
but the practical side of the idea should also be emphasized.
There is no profit other than historic association to be
had from a clipped
yew, but a goose-
berry trained as a
pyramid or parasol
will yield more fruit
than if it be left as a
natural, round, and
dense prickly bush.
The sun will pene- FIG. 90.

trate and ripen the

fruit when a bush is so trained, and this in a small garden
is of moment.

A good idea for economizing space and for planting as
much fruit as possible in a practical as well as an artistic
way is to plant pears on a wall, leave a good pathway
in front of them, as at B, and then plant cordons of pears
at C. Let them lean over slightly towards the wall, thus
forming an archway over the path (Fig. 90).

In Fig 91 shade, beauty, and profit are combined by
means of paths over which are trained, in some places
roses, in others fruit. The vegetable plots are in this way
somewhat concealed, and yet they obtain a sufficiency of
sunshine, since the garden is on a slope towards the
south. Near the house is C, a level terrace where a
broad walk commands the distant view and a tiny lawn
gives a playground for children. Upon the edge of the
terrace is a trellis screen which helps conceal the plain

150 GARDENS: THEIR FORM AND DESIGN

vegetable-plots in the garden beneath. By using one of the
patterns shown under " Treillage" an old-fashioned look
is given to this garden. Space is limited, so all possible
ingenuity must be used to fit in as many plants as possible.
Where there are walls, bold groups of irises can be
embedded in a sort of mud-paste, mixed with a little
cow-manure, and planted on the top. Then all small
crevices or chinks should have seed of either wallflowers
or valerian placed in them at the proper time of year ;

A, Paths.

B, Espalier.

C, Terrace.

D, Vegetables.

E, Beds.

F, Steps.

FIG. 91.

little baby antirrhinum plants or foxgloves can be stuck
into any of the larger holes. If firmly fixed in they will
soon get a foothold and will probably increase themselves
by seed. Then it is easy to secure a small stone slab to
the wall by means of cement, so that it projects horizontally
from it. Sun-loving plants will be happy poised upon it,
and those which prefer shade may possibly find a home in
some small crevice beneath. Arches of ivy and festoons of
it outlining the paths have the advantage of looking nice in
winter, and also they help break the monotony of beds
and paths. Small roofing tiles or any other irregular
scraps of paving look well as stepping-stones across a

SUBURBAN GARDENS 151

border. If a good many disused York paving-slabs can
be bought they make picturesque-looking paths, and by
leaving small gaps of earth between each we can have
a further garden of dwarf things planted between these
stones.

Then, too, what a mass of extra flower can be fitted
into a garden by having ornamental pots and wooden
tubs everywhere ! Disused paraffin-casks answer the
purpose, or small lard-tubs look well painted a favourite
colour.

In a garden not far from the sea were rows of green
and white wooden tubs with gay flowers planted in them.
They stood beneath several large cedar-trees on a lawn
where grass would not grow very freely. The garden
adjoined the house, and thus there was colour to look out
upon. Hydrangeas, solanums, giant herbaceous calceo-
larias, and fuchsias, all wintered in these tubs out of doors.
To give them a little more shelter, and to prevent the sun
in winter from hurting them when frost was on their leaves,
they were moved to near the shelter of some ilex-trees.
In this dense shade they remained unprotected until the
spring, when they were put back on the lawn near the
great cedars. It may here be useful to note that it is
important to leave the dead flowers on hydrangeas in the
winter.

In Italy they often have near pumps low, flat, very
large terra-cotta pans for holding water. They are like
miniature baths with lovely wreath-decoration, and are
most ornamental for such a purpose. In our cold climate
it might possibly be unwise to use them in the winter
for holding water, because if the liquid froze the pottery
would crack. It would, perhaps, be best to arrange to
plant things in them instead. In this case they would need
to have holes bored in the bottom for drainage and this is
easily done. It is sometimes possible to obtain these

152 GARDENS: THEIR FORM AND DESIGN

direct from Italy, but if not, something equally beautiful
can be procured from Mrs. Watts' factory at Compton,
in Surrey.

It is not for ornament alone that trees and shrubs are
planted in pots. Sometimes a small screen is useful to
separate the practical work part of the garden from a
pleasure ground. We can never forget that important
but ugly things like rubbish-heaps, paper accumulations,
leaf mould, potting soil, frames, and greenhouses exist in
the smallest gardens. They should be concealed by means

FIG. 92.

of ivy and other creepers, planted in boxes (B). Perhaps
a tiny bit of shade may be wanted near where afternoon
tea is given. In this case a line of small trees like A and
C will help considerably (Fig. 92).

The garden can be further made gay by having tall
uprights either as tripods or to form arches, and planted
on these roses and other creepers give colour well above
the heads of plants in borders. If a pergola is included,
it should be as plain and simple a one as possible. The
smaller the garden, the more important is it to simplify all
lines.

It will no doubt soon be possible to once more obtain
good square chestnut uprights and trellis with straight

SUBURBAN GARDENS 153

mesh, not lozenge-shaped. Before the War it all could be
bought creosoted if required, and thus was thoroughly
durable. This would form an excellent imitation of
what we see used in Italy, greatly preferable to the foxy-
coloured varnished rustic work, which, alas! still is retained
in some gardens. Good taste in pergola-building and in
treillage bowers has still to be taught in England. These
garden devices weary the eye by
their many contending lines, and it is *
well worth while using stouter wood
and putting in more uprights, in order
to do away with the ugly lines at D
in Fig. 93. Another important
thing to remember is that all walks and
pergolas should lead toadefinite object.
It matters not whether it be a garden seat, sundial, statue,
or water-lily tank, there should be a feature of some kind
to which the covered alley or path takes the visitor. In
small gardens a formal style for the shape of beds and
paths will be found to economize space and give better
effect than a semi-natural arrangement. This in no way
necessitates placing plants themselves in stiff rows or
patterns. The cottage gardens should be copied for these,
where as many bulbs, annuals, and perennials are
crammed in as the deeply dug ground will hold. " Baby
Bell " (snowdrop) precedes " Mary's tears " (lily-of-the-
valley), and they leave ample room for " Winking Mary
buds" (marigold) to come after. " Earth smoke"
(fumitory) will keep the ground cool around " Long
torch " ( Verbascum thepsis], and " daffadowndillies " are
scattered freely amidst the foliage, which later will show
" Three faces in a hood " (viola).

Another part of garden design for the amateur to
consider is where best to place the central features of the
small-design garden : whether to have them immediately

154 GARDENS: THEIR FORM AND DESIGN

in front of one window, so that the eye is carried from it
through an archway, past a sundial, to a garden seat
beyond, or whether some other part is made the starting-
point of the plan.

Certain it is that a definite and rather formal plan
is what makes a small villa garden restful and pretty.

There are many designs of small arbours or bowers,
made of square-meshed trellis, which the clever amateur
can execute for himself. They can form the background
to a circular or square water- tank, and possibly with slight
further ingenuity a small fountain can be contrived. This
will send up a thin, soft spray on hot days, and amuse
children perhaps by playing cup and ball as it rises and
falls, bearing with it a tiny indiarubber ball.

Water is indispensable in all gardens, and even if there
be not any laid on for garden use, it is yet possible to
contrive some easy way of collecting rainwater from the
house. It can be stored in tanks and empty oil-barrels,
and by sinking these in the ground and planting water-lilies
at the bottom a pretty little ornamental feature is secured.
It is wonderful what a quantity of different plants can
thus be given happy homes, tier above tier, commencing
with the sunk water-lily and ending in the tall fruit-
tree. This, however, by no means exhausts the space we
have at our disposal. There is still the roof garden, of
which so much is made in Italy.

ROOF GARDENS

In Athens, a good many years B.C., it was the custom
to hold a festival of Adonis. Similar to our old-fashioned
May Day revels were the preparations for it ; but, instead
of adorning a maypole with wreaths of flowers, the
Greek women decorated their houses. Upon chased
ornaments we see represented groups of women and

SUBURBAN GARDENS 155

children twining festoons of flowers and putting flower-
pots upon the flat roofs of houses, in honour of the
occasion. This was in all probability the origin of the
roof gardening which was introduced later into Italy.

The descriptions of the palaces of the Roman
Emperors give us ideas for many a large house, where an
extensive roof-space (or, in plain English, the " leads ")
could be made pretty by very simple means. Diocletian's
palace must have been a very lovely one, for it was built
upon a square piece of ground and had towers at intervals
to command the view. Upon the side overhanging the
sea was an open portico, where people could walk under
cover, and upon the top of this was a roof garden.

From pictures of the palaces built on the Palatine Hill
we can weave dream-gardens for ourselves. The dining-
rooms used by the Emperors usually had three couches,
and from these could be had views over the gardens, or
into small courts where splashing fountains cooled the air.
They were so particular about having a pleasant outlook
that, when the view itself was not attractive, scenery was
painted and hung up to take the place of natural trees or
distant mountains. In some of the banqueting-halls the
walls revolved so as to give greater variety. Wherever
it was possible vistas were planned to be seen from
different windows, and in order to help any irregularity of
design caused by a difficult shape of ground, a simply con-
structed arch was placed to bring about formality.

There are large houses in London where, even if the
artificiality of painted scenery and revolving walls is not
desired, yet a pleasant outlook could be obtained through
the use of " perspective treillage." As a decoration to
the walls of adjacent leads or courts, it is restful and gives
great scope for imagination and design. Then, too, a
good piece of sculpture or architectural work in the centre
of a small court, or a fountain surrounded by little trees in

156 GARDENS : THEIR FORM AND DESIGN

pots, is decorative. We sometimes see such work well
carried out in restaurants and public places abroad, but
only comparatively few business-houses in England have
adopted the plan. It is worth study, and those who wish
for ideas upon the subject will find many suggestions for

original designs in Perelle's
book, " Vues des Belles
Maisons de France."

In old French books we
obtain ideas like Fig. 94,
where are walls covered
with treillage-work ; and
apparently upon the top is
a passage roof-garden, and
little bay-trees in pots lead
to a shadow-house or treil-
laged bower.

The roof garden of to-
day in Italy is of a simple
style, but it represents very
truly a garden. In Genoa,
as the palaces are large and the ground upon which the
town is built resembles an amphitheatre, it is difficult to
get much land to cultivate. Each house therefore has a
roof garden. From the summit of the hill, overlooking the
town and the fine harbour below, houses have a wonder-
ful appearance ; for small arbours, bright with wistaria,
roses and vines, and ornamental pots and boxes gay with
flowers, are apparently suspended in the air. The only
features that recall to us the manner in which they all
exist in the sky are the chimney-pots, and these in Italy
are usually very artistic in shape, so that they by no
means mar the beauty of the scene.

Probably, if we looked more closely at the plaister-
work of some, we should see that a broken plate projects.

FIG. 94.

SUBURBAN GARDENS 157

This is said to protect against the Evil Eye, and is a
superstition that reminds somewhat of our own, that a
house-leek planted upon a roof preserves the house from
lightning.

The Italians decorate theirs with prettier things than
sempervivums, however, and to gain a few ideas for our
own country let us recall some of the balconies, loggias,
and tiny piazzas belonging to Siena houses. These
varying garden-bowers are placed in gradations according
to the size of the rooms.

The top floor of a house has only a balcony ; the next
one below boasts a loggia, where a small party of people
have room to sit and drink tea ; the best floor, the one
which belongs to the drawing-room, possesses what in
England we should call a " piazza." It is square, and is
paved with red bricks. In the centre there is room for a
group of ivy-leaved geraniums in flower-pots, and a big
orange-tree in a pot is at each of the corners. The
paving is so arranged that there is a slight fall towards
the centre, where the small gutter and a hole carry off
all moisture from the flower-pots. A three-feet wall,
painted a delightful warm pink colour, is along the front,
and upon this can be stood all sorts of treasured little
plants in boxes and in pots. The real joy of this
delightful open-air drawing-room consists in a tunnel-
shaped recess, formed in the walls of the house. Here
the sun seldom penetrates, for this shadow passage runs
back about ten feet from the end of the piazza, and leads
through a door into the drawing-room within the
house. Owing to it the room itself is kept cool, and
from its grey framed arch we look out upon the little red-
paved piazza. Beyond, above all the bright flowers
upon the little wall, is the sparkling gem-like black and
white marble cathedral, which rises upon the hill opposite,
and at all times of day, and in different lights, forms one

158 GARDENS: THEIR FORM AND DESIGN

of those mind-pictures that sink deep into the soul and
remain unforgettable (Fig. 95).

The part K, which is shown in the drawing, is the
pergola belonging to the neighbouring house. This rests
upon a higher side wall than that of the red-brick piazza.
It is amusing to make a study of the various pans and

FIG. 95.

boxes and their contents, for each small garden seems to
try and have something different from its neighbour.
Some have small bowls only, but they are filled with
choice things. As a rule, lilies-of-the-valley, stocks, wall-
flowers, and megasea are in most, but it is the variety of
shape, size and colour that makes the charm.

For a roof garden in a suburb, nothing better could be
arranged than Fig. 96. This particular passage-garden

SUBURBAN GARDENS

159

led from one house to another, as they often do abroad.
It shows a long stone slab resting upon occasional brick
uprights and pots stand upon the slab. This is long
enough to give scope for a nice walk to be taken, and
the gay flowers in the pots will make it look like a real
garden.

Fig. 97 is a typical Italian roof shadow-house. The

FIG. 96.

shaded lines are of thick wood, with a coat of tar or dark
paint upon it, and the thin lines are of iron, such as any
local blacksmith can construct. All sorts of delightful
creepers are planted upon these arches. There need be
no fear of their not growing well in boxes, provided
ample drainage is given.

We sometimes wonder how so many plants can be

FIG. 97,

160 GARDENS: THEIR FORM AND DESIGN

watered, but in countries where roof gardens are usual
cisterns are so arranged that they catch all rain from off
the tall house, and each roof has its own supply. A
tap is fitted to the cistern, and pipes convey the water to
the different roofs. Another important point that requires

thinking out is how
best to obtain rich
soil, and to change
occasionally that
which is in the boxes.
No one need
despair of having
such gardens, for
even in the City it
has been possible for
Londoners to con-
struct them and to delight in sitting, in the cool of even-
ing, with the smell of stocks and carnations round them.
Perhaps the most successful town garden belongs to a
lady in Rutland Gate. Here a tiled forecourt has steps
leading up between a somewhat Japanese style of trellis
to a higher court. Japanese lanterns give height, and
interspersed with them are tall, slender trees. These,
together with bright-coloured pink geraniums, have had
happy homes prepared for them in sunken beds, or, where
these have not been possible, boxes filled with earth have
been utilized. Then, too, Hampton Court Palace gives
us examples of many such little hanging bowers, where
ladies tend sweet mignonette, verbena, and other flowers.
Some houses do not adapt themselves to a roof garden,
but possess instead a small entrance-court, or " forecourt."
If an old-fashioned iron gateway admits perchance to it,
then the square forecourt should be paved, and this will
give scope for much imagination. Tiny square beds
made in the paving will give a home to pretty flowers or

SUBURBAN GARDENS 161

shrubs, and if room allow, several small tubs or flower-
pots can stand to form a pattern and give height. Often
a dark green wooden covered way leads from the gateway
up steps to the front door, and thus enables friends to
reach the house without exposure to wind or rain. This
rather gloomy passage, which takes up a portion of the
little garden and looks dull beside the bright flower-beds,
needs something to help it. Little wooden boxes, painted
dark green, narrow and rather trumpet-shaped, can be
hung upon the wall. The opposite side of the passage is
open and admits sunlight ; therefore, if bright daffodils or
other bulbs and flowers are planted in the boxes, they will
give colour and be a great source of pleasure to passers-by
Many are the suggestions that suburban or town
gardens can glean from cottage ones, where a very small
space is made the most of. An eminent gardener once
asked a lady to let him wander round her small garden
alone, for he wanted to see all that it contained. It was
the apple of her eye, for she had tended it herself, and
therefore she waited anxiously for his return, wondering
meanwhile what faults he would find. As he strolled
back to her side, he said, " I have learnt a great deal."
And she, poor innocent, blushed with joy and said modestly
that it was quite impossible he, the great man, could learn
from her. " Do you not know," said he, " that we all can
learn from a cottage garden ?" From that day forward
the lady never passed a thatched-roof cottage without
looking over the wall at the contents of its garden, to see
what fresh idea she could carry home.

ii

PAVED GARDENS

THE man or the woman who possesses a gift for
creating beautiful daydream gardens is to be envied.
It is a joy that never fails. Maybe the possessor
of it does not own a garden, or if he does it is so small
that none of the weavings of imagination can take shape
in it. Yet wherever the dreamer goes he will be happy.
If he is not actually building castles in the air, he will be
noting certain colour-combinations, effects of light and
shade, happy homes for flowers, shape and line in archi-
tecture or in natural hills and dales, which may some day
be adapted to his friend's garden, if not to his own.

Thus a walk through narrow overshadowed streets of
a foreign town, a glimpse through a " porte cochere " into
a small paved court, bright with big terra-cotta vases and
golden oranges hanging from the trees they hold, will
send him home thinking how such an effect can be had
in his own country. Most certainly the cottage gardens
of England will give ideas in plenty, and so will hedgerows,
woods, and commons ; for, when all the books of the
craft have been read and studied, it is Nature that is the
true and only teacher.

A chance lesson about paved gardens is to be learnt
from an old almshouse garden near Horsham. It bears
the charming name of " Normandy." Formerly each

162

PAVED GARDENS 163

occupant of these houses owned a small plot of ground.
Some time ago these plots were done away with, and in
their place big slabs of grey stone were laid down to form
instead a dry court, where the old people could walk and
sit. It seems, when we see it to-day, as if the poor
flowers regretted former times, when the old ladies in
their caps and shawls came out to tend them in the beds,
since many plants struggle up between the stones. There
are small gaps in the paving, and in them are bright red
valerian and tall yellow helianthus, the successors no doubt
of those which once formed gay gardens. The old people,
encouraged by the sight of these, have utilized other little
holes and gaps, have filled them with good soil, and have
scattered seed upon it. Sweet-peas, sunflowers, mignon-
ette, all come up at random in the court, and a lovely
garden is thus made. It is about twenty feet wide and
sixty feet long, and at the back is a high wall, one mass
of red and yellow wallflowers. " They be rightly named
so," said an old dame, as she sat knitting a sock in the
shade of it.

This garden may be copied anywhere, for dwarf rock-
plants can be put in the chinks which occur in paved
spaces where people are likely to walk or sit, while the
taller flowers may be kept for parts of the garden that
are to be looked at but not used for traffic.

Somewhat the same style of gardening has been adopted
in little forecourts of London houses ; but these, being
more formal in design and grander than the almshouse
garden, are more restricted, and little six-inch-high stone
edgings surround beds and paths which keep them neat
and smart-looking.

There is nothing more fascinating than a quiet walk
along Cheyne Row upon a sunny April morning. The
houses there, as in Kensingston Square, seem to take us
back to hoops, powdered hair and patches, sword-hilts,

164 GARDENS: THEIR FORM AND DESIGN

flowered waistcoats and buckles, all the delightful little
touches which we connect with Sir Peter and Lady
Teazle. The wrought-iron gates, with their tall torch-
holders, remind us of " Miss Angel " and the days when
ladies in their sedan-chairs were escorted to the door by
gallants. The only part of all this minuet life that
remains is the old houses and their gateways. Each
seems to vie with the other in the history that it holds,
as each small forecourt competes with others to be the
most perfect in its quaint garden ideas. One is a gem
spring garden. The paving-stones are large and regular,
but between each has been left just sufficient room for
the tiniest little bulbs to spring up. Against the grey
slabs what can look more dainty than blue scillas ? They
are just the right height for the baby garden, and look
dazzlingly blue as the sun shines on them in their smoke-
coloured, quiet surroundings.

Only baby plants are chosen for such narrow chinks,
but succession can be maintained with winter aconite,
snowdrops, crocuses, scillas, chionodoxa. Perhaps a little
London pride or bachelors' buttons would help in summer
to keep it bright, and then in autumn the mauve crocuses
will prepare for winter. Two corners of the court are
real flower-beds, and at the time when the blue scillas
are in flower these are bright with hyacinths. Grey- blue,
bright blue, and white ones are in them, and most perfect
is the whole.

It is not every garden that possesses a forecourt, but
all must have paths, and where possible, it is picturesque
and more practical to have these paved and not laid down
with gravel. The latter gives an ordinary look to a place,
and the stones are apt to hurt mowing-machines when
they get into the grass, as they frequently do. Real
York slab is what we like best ; but, since it is expensive
and difficult to get, let us consider what other material

PAVED GARDENS

165

166 GARDENS: THEIR FORM AND DESIGN

can be used in its place. A pretty arrangement is where
a line of red bricks alternates with irregular-shaped grey
stone paving. Sometimes a few hundred bricks are left
over after a house has been built, and although not suffi-
cient in themselves to make a long path, they will do so
if some pieces of York slab are used too. The bricks are
practical, also, for wheeling a barrow over, as the wheel
will run smoothly upon them. If a small terrace is paved
in this way, a distinct pattern can be made by carrying
the red bricks so as to form an outline to the whole or a
lozenge shape. Care must be taken in planting, not to
put pink or red flowers near the bricks ; blue, yellow, or
white will look best. It is advisable to try and get as
pale a colour of brick as possible, not a harsh, crude red.

Wide terrace walks look charming if arranged with
alternate pale-coloured brickwork, white flints, and York
slab ; or the two first alone set in lozenge patterns give a
pretty glistening effect. Red tiles can be used in place of
bricks, and their smooth surface makes a nice contrast to
the roughness of the flint pattern. A charming reserve
flower garden beside a small pond is so arranged, and upon
the corners of the square flower-beds there are placed,
mounted high upon pedestals, little terra-cotta oil-jars
that came from Italy. From the walk which approaches
this garden, by the side of the water, the tall, graceful
figure of the owner is seen as she picks an old-fashioned
" tussie-mussie " of flowers. The picture is perfectly
framed, for a line of children's hoops, with rambler roses
trained round them, is what we look at it through.

For other gardens, where there are steps leading down
to terraces, it is possible to obtain variety by laying
stones in patterns. At the foot of the stairs, old disused
tramway-stones can be arranged to form rays. Some
are laid lengthways, others in between are put horizontally.
Such an arrangement is not intended for plants to grow

PAVED GARDENS 167

in between, because, this being the main access to the
garden, they would only suffer and be crushed under foot ;
but the pattern the stones are set in makes a little incident
which is interesting in a garden.

A whole book has been written upon " Stone Gardens"
by Rose Haig Thomas (1905). Yet, in spite of this, the
subject has not been sufficiently studied. In the book it
is suggested that flower-beds should be made in a good
and decided pattern, and surrounded by paving. Flowers
thus look as if they rose out of the soft grey colour of
York slab stones, and all sorts of lovely designs can be
planned out for these gardens, which preferably should be
looked down upon from a height. This shows off the
scheme best. A Tudor rose bed, with pink flowers in it,
looks lovely arranged in this way. Here and there in the
paved part that surrounds it a pretty effect is attained
by leaving chinks for an occasional small plant to find a
home, for it breaks the monotony of too much grey colour.
Gentians and Lithospernumprostratum are two blue plants
for such a position. The annual Phacelia campanularia
is charming, and so also is eutoca. Occasionally in the
corners or remote from the pathway, a tulip, a pink
pentstemon, or even a tall, stately campanula, looks well,
whereas small alpines come to no harm in the footway.
Amongst dwarf plants are saxifrages, dianthus, tufts of
Lychnis alpina, Erinus alpinus^ and myosotis. In the
smallest chinks of all, a solitary bulb of Scilla siberica,
chionodoxa, or Iris reticulata will come as a delightful
surprise.

Other suitable plants are Sedum cceruleum, which goes
well with white or blue campanulas and alpine phloxes.
Some of these do best, and their growth is more rapid, if
a little sand is mixed with soil in the chinks.

It will be great amusement to note the little natural
colour touches which sometimes put themselves happily

168 GARDENS: THEIR FORM AND DESIGN

in such positions. For instance, nothing looks better
near grey than a pale pink campion. Wood-sorrel, too,
is good in little crevices of stone. But most delicate and
delightful of all is a tiny daisy called " Dresden China.''

If a small pool of water or (Fig. 98) tank can be arranged
in the centre of such a paved garden, in place of the

FIG. 98.

Tudor rose, or other shaped flower-bed, we gain further
colour through the reflections of flowers in the water.
Four children's baths, converging from four quarters
towards a circular tank, would form a shape out of the
ordinary. A narrow flower-bed comes next the water,
in which would be bright yellow allyssum, pansies, white
pinks, and other flowers, their faces reflected in the little

PAVED GARDENS 169

pool. Then comes quiet grey paving, enlivened further
back in the garden by bold beds of colour. The garden
so arranged would be cool and refreshing to look down
upon. But if a shadow garden for sitting in is required,
it can easily be converted into such by having tall square
uprights spaced across it, with light creepers trained up
them to horizontal woodwork, which would form a slender
roof over the whole.

As we look at the grey stone slabs which have
witnessed so many varying scenes and contending
emotions when London, with all its noise and turmoil,
swept past them, we feel that their end is one that many
of us might wish for, to help make live a garden of flower
romance.

GARDEN HOUSES

NOWADAYS but few can awake in the morning
and feel that the day is their own to do what they
like with, to live through while accomplishing all
they would wish to achieve. A considerable degree of
restfulness has vanished from life with the advent of
frequent posts, telegrams, telephones, and motors. If
quiet is sought by certain individuals, they have to retreat
behind fortified walls to preserve it, and not even the
reaction caused by a cessation of hostilities and the con-
sequent calmer tone of our newspapers can restore the
easy life of past generations.

One great art, that of leisure, has been lost with this
bustle and rush. The days have gone by when country
gentlemen spent most of their time in one place, moving
the whole establishment once a year to a large house in
the neighbouring town, where their daughters danced at
the Assembly Room balls and found this sufficient
amusement to last them a twelvemonth. With those
times has vanished, too, much of the old craftsman's
detailed, thorough work. There is no special call for it,
and where there is no demand the supply is not forth-

170

GARDEN HOUSES 171

coming. Therefore, should suggestions be sought for
garden ornaments, should architectural features be wanted
such as shadow houses, sundials, weather-vanes, fountain-
heads, we go for choice, not to modern art, but to those
carefully planned and well executed ones which remain
to us either in old pictures or in gardens.

Let us turn for inspiration to those most delightful
rooms sometimes to be found near old country houses,
survivals of past days. When large dinners were given
to tenants who lived remote from other excitements, and
thus drove from miles around to attend these festivities,
undaunted by heavy roads, snowdrifts, or wind-swept
sleet, provision had to be made for their entertainment.
Often we find a long gallery or well-shaped room detached
from the stately red- brick Georgian house where could
be given ample accommodation to eighty or more guests.
Thus, these guests need not necessarily be admitted to
the state-rooms, but could enjoy themselves feasting
upon venison and wonderful pastry creations of the chefs
art, until speeches commenced or tables and chairs were
cleared away for dancing.

Easy access was provided by a covered way to the
kitchen and stables, and the whole pleasure-party could
be carried on without interruption to the even tenor of
the big house. It is only occasionally that we come
across such rooms, yet how useful they are for country
fairs, Red Cross meetings, or boy scout inspections. One
house in Sussex, built by its owner to represent a perfect
copy of an Elizabethan manor-house, possesses such an
" annexe," which goes by the name of " The House
of Entertainment."

172 GARDENS: THEIR FORM AND DESIGN

ORANGERIES

In some old gardens we find orangeries similar in
design to that very perfect one in Kensington Gardens,
or to the one at Osterly. They were intended for the
winter housing of tender plants grown in square wooden
boxes or ornamental pots. Here was a warm winter
home for the bay-trees, myrtles, oleanders, which in
summer were placed round the house to give height and
variety to the pleasure-grounds.

Surely such solid brick-built, artistic houses are more
useful, as well as more ornamental, than a large glass
conservatory or hot-house, where specimen tropical
plants are grown but seldom carefully looked at by the
owner. Usually such rare and interesting plants are
better kept and enjoyed at Kew, for it is only from
botanical interest that more than a passing visit is
willingly paid to a heated glass-house. If plants are to
be healthy, watering has to be continually done, and this
adds to the difficulty of making such a building comfort-
able as a retreat for talking or smoking.

There seems no reason why the old-fashioned, stately
orangery should not be revived ; and added to it could
be an upper story, where a room of similar length and
shape would be utilized for entertainments, should they
take place in winter when plants occupy the downstair
floor. In summer, when all the great shrubs and trees
are outside decorating pleasure-grounds, the space would
be vacant for an additional happy refuge in case of rain
at garden parties.

Something of the same sort, only more decorative, is
suggested from recollections of that most perfect miniature
" Jagdschloss " at Nymphenburg, near Munich. The
name of this lovely little moonlight palace is Amalienburg,
and although it is designated as a hunting-box, the delicate

GARDEN HOUSES 173

decorations betray that it was meant more for dances and
festivities at the end of the day, when innumerable wax
candles lit up the soft-coloured walls.

It is a satisfaction to think that plans and rough notes
made many years ago by the author have been preserved
and are now useful in calling it to mind. It may be
sacrilege to mention so unsightly an object as a motor,
when speaking of an approach that was originally thought
of only in connection with picturesque coaches and four,
huntsmen and their hounds, and perhaps the sedan-chairs
of fair ladies. The building is shaped both at the back
and in front in half-circles, and consequently the roadway
also follows these lines and makes access to the Palace
easy. The entrances and exits are admirably planned,
and so, too, is the little model kitchen which is the ideal
of what such a working one should be. It is cool, light
and clean, for the floor, walls, and ceiling are laid through-
out with spotless shining white tiles. A passage from it,
with very spacious cupboard accommodation for glass,
cutlery, and dishes, leads to the first of the ornamental
rooms. It is perfectly proportioned, and the quiet grey-
coloured panelled walls, slightly decorated with silver
mouldings, lead up slowly to the gay colour of the drawing-
room, which we pass on to next.

Here the walls are painted a bright yellow, just the
tint which lights up best ; and we can picture how well,
too, the silver mouldings and decorations would look
at night with that colour. The feature of the whole,
however, is the beautifully proportioned circular ball-
room with its musicians' gallery. The soft grey colour
of the walls and the silver mouldings throughout the
rooms were chosen wisely, so as to show off well bright-
coloured silks and satins of the ladies' hoop-petticoats.
White or pale colours are much more becoming as a
background to uniforms and bright clothes, and in the

174 GARDENS: THEIR FORM AND DESIGN

days when there was dancing at Amalienburg, men did
not wear the sombre-coloured coats that now in a measure
help, by contrast, to show off the ladies' clothes of rain-
bow tints. When the musicians struck up the stately
minuet, knee-breeches and stockings, and velvet coats
with gold and silver brocade waistcoats, made the men
look as picturesque as their ladies. Now the only remnant
of the former life of the little hunting-box is to be found
in a room beyond the ball-room, where in a recess is an
ancient " Excellenz sofa." This bright yellow drawing-
room, which opens into a blue-grey boudoir beyond, was
no doubt where the great ladies, honoured guests, were
led after the dance to rest awhile, whilst negro page-boys
in bright suits handed refreshing glasses of coloured
syrups. Beyond these rooms we find a passage with
sporting pictures of birds, hares, and other animals let
into the panelling, and next to it is a room with kennels
for the retrievers, and cupboards in plenty for the sports-
men's guns.

We have by no means exhausted the joys of Nymphen-
burg, for in the same park is another small surprise
schloss called the "Badeburg" (Fig. 99). Here a spacious
dining-hall (A) extends the whole width of the building,
and opening out of it is a drawing-room (C) which bears
the somewhat peculiar name of " White Fox," accounted
for by the picture of this celebrated animal let into the
panel above the mantelpiece. A door leads from here
to the bath-house (B), a luxurious and delightful one,
where six feet depth of water gave scope for all sorts
of games and swimming feats. Evidently here large
parties were given, since a spacious gallery all round
leaves room for musicians as well as spectators. How
delightful these private orchestras must have been, which
could be summoned from one small pavilion to the other
for the enlivenment of guests ! Approached by another

GARDEN HOUSES

175

B

FIG. 99.

door in the " White Fox " room is the Chinese drawing-
room (D), smaller than the others, and with a boudoir (E)
attached to it. As only light refreshments were served
here, and all the chief enter-
tainments took place at Ama-
lienburg, a small pantry (F)
seems to have been sufficient
at the Badeburg.

There are comparatively
few places where nowadays
such elaborate garden-houses
are required, but it is pleasant
to recall them, and in imagina-
tion to walk along the straight avenues of the little park,
and to revive again scenes that took place there long ago.

SHADOW-HOUSES

In days when Reynolds's and Gainsborough's ladies
were alive, and even before that time, the chief occupation
of a lady in the country was the supervision of all
connected with the still-room. She made her own
preserves and perfumes, she spread rose-leaves in the sun
and then stirred them with essences to make potpourri,
and she gathered herbs for the kitchen. We can well
imagine how useful a garden-room or shadow-house,
which is an older name than summer-house, must have
been for these occupations. In it she could either
rest or carry on her avocations.

We are, I am glad to say, reviving these bygone
interests, and although the need for elaborate garden-
rooms may have died out, it is a matter for regret that in
the adornment of gardens something more artistic should
not be planned than the somewhat sorry-looking objects
which we see, the inspiration of modern designers.

176 GARDENS: THEIR FORM AND DESIGN

Let us take a few specimens of real shadow-houses, as
we find them in old places. There are first of all those
important ones that were placed in the corner of a
bowling-green or court. They usually were raised a few
steps above the terrace upon which they stood, so as to
enable spectators to have a good view of the game. This
also gave the small building a greater air of importance
and kept it dry. Often the terrace itself sloped down to
the bowling-green below, which afforded a return impetus
for the bowls, somewhat similar to that of the cushion in
billiards.

An example of this kind is at Clifton Malbank, in
Somersetshire. As in our day every comfort and luxury
is thought out to make golf clubhouses or polo pavilions
perfect, so in olden days the bowling-green house was
carefully planned. Moreover, it was in really good
architectural style, and all details show the work of
intelligent craftsmen, who put a bit of themselves, some
soul, we may say, into their work. There was not that
need to hasten a job in order quickly to take over the next
work, which we have a feeling is sometimes now the ease.
Usually there was in it a panelled room with a fireplace
and window-seats. The latter were often so constructed
as to form a cupboard, in which bowls and other require-
ments of the game were kept. Sometimes in these old
lockers, hidden beneath dust-laden cobwebs, are found
touching reminders of the love men had for this game.
Special private bowls lie hidden there, with unmistakable
penknife-carved initials upon them. Perhaps an especially
seventeenth-century flourish to the R conjures up in our
minds the Sir Robert of that date, who, rumour tells,
found his chief relaxation in a study of this serious and
yet delightful pastime.

A house like this is at Oxenhoath, in Kent ; and
Losely, in Surrey, boasts something of the sort at the end

GARDEN HOUSES 177

of the upper terrace overlooking the still waters of the
moat. One, very Dutch in style, is at Nunmonkton, in
Yorkshire. Upon one side the windows overlook the
bowling-green, upon the other they look down upon
the River Ouse. This garden house with its double-
domed roof, coloured with lovely soft green lichen,
forms a delightful ending to a long vista of clipped yews.
These alternate with small lead figures to guide to the
house.

Then there are the beautiful houses at Montacute. They
stand in the corners of the court, which is rather a favourite
position in gardens of that date, and they were probably
used most for household avocations, such as potpourri-
making or for keeping tools or games.

Besides this kind of summer-house there were others,
essentially shadow-houses for rest, where little tea-parties
were given and friends could come from the heat of the
sun and talk in quiet and seclusion. Usually they are at
the end of a vista or long walk, and thus form an object or
meaning for it. Such a one is at Packwood, in Warwick-
shire, at the end of the raised, brick-built, narrow terrace,
where it is said Queen Elizabeth used to walk with
Leicester. She rode over from Kenil worth during her stay
there, and was no doubt interested in the wonderful yew-
tree garden, planted by former monks, which the terrace
overlooks. The Packwood summer-house is probably
built upon the foundations of an older one, but the shape
of the roof and the door-mouldings have the appearance of
William and Mary's time. Within is pretty shell-work, of
a later date, which reminds us of dear old Mrs. Delany, who
set the fashion in George III.'s time for ladies to do this
work. We know that the ladies at Goodwood decorated
the shadow-house there about the same time. Is it
possible that Mrs. Delany herself stayed a while at Pack-
wood whilst visiting some of her numerous friends, and left

12

178 GARDENS: THEIR FORM AND DESIGN

the shell-work as a memento of her visit ? This is one of
many questionings which shadow-houses raise.

At Montacute is an instance of another kind of house,
having a stone arcade, which stands upon a raised
platform. There is a still better example of one at Lower

Ethington Manor House, in
Warwickshire. In considering
such open loggia-like buildings
we cannot help a feeling of pass-
ing regret that the very perfect
specimen in Kensington Gardens
is not in a better position, where
it could form part of a garden
design. At present it seems cast
away in a corner, where but few
are conscious of its existence, yet
in all detail and proportion it is
admirable.

Fig. 100, although suited only
to a large building, can be adapted
in many ways. The entrance
could lead to a large garden-
room, and upon the upper floor
we gain another loggia, with a
very fascinating line of dome-
shaped roof.

We could linger in many

gardens and find other specimens of solid brick or stone
built shadow-houses, each with some pretty distinctive
feature ; but we have only space for a cursory glance at
the chief types. Those who are about to build will no
doubt make them their study, and then suggest to their
architect or builder the features which they wish intro-
duced.

Meanwhile, we will consider those of light construction

FIG. 100.

GARDEN HOUSES

179

such as the ordinary clever carpenter can erect, if only he
be shown a picture, and directed as regards proper
proportion. For these we have to go to books or to our
memories of little old German provincial towns. In
England but few early ones have survived the devastating
influence of the followers of Capability Brown.

In a quaint Dutch picture is a curious-looking circular
shadow-house upon the far side of a moat. A narrow and
rather picturesque wooden
bridge leads across the
water, and an ornamental
trellis fence joins the
bridge to the shadow-
house. The latter con-
sists apparently of a stout
wooden framework,
against which are
planted several yew-trees,
which join together to
give the appearance of a
green circular house. A
good many oval-shaped
windows are in it, and we see complacent Dutch " House
Vrouws " looking through these at the rest of the garden.

In Holland they went in largely for this woodwork
decoration and many shadow-houses like Fig. 101 are to be
found in their picture-books. The former is simple
enough for any village carpenter to construct, and with
coloured balls upon the roof, and some pretty creepers
climbing up, it will be a delightful feature in a small
garden.

Windows and pyramidal woodwork were much used in
the seventeenth and eighteenth century shadow- houses,
made entirely of battens, excepting that where the
windows come separate frames of oak were fixed. The

FIG. 101.

i8o GARDENS: THEIR FORM AND DESIGN

windows let into the walls and sides were usually oval
in shape and upright, to frame a tall, narrow picture.
Those in the roof, it will be observed, are oval, but
horizontally placed and larger than the others, so as to
allow a large proportion of blue sky to be seen in the
roof. The small pyramids are a useful additional frame-
work for long sprays of
creepers, which would other-
wise make too thick and
mat-like a clothing if trained
to the walls.

It is always more inspiring
to see a real garden feature
than a mere picture of one.
We were fortunate to find
in the small gardens at
Veithochsheim temples with
wooden roofs still preserved,
much as they were originally.
They were painted a dull-
coloured peacock blue, and had gilt knobs on the top
These small roof decorations were all different, for some
were shaped like crowns, whereas others looked like urns.
The characteristic of the whole building was that the roof,
being of solid wood, did not admit sun or rain, while the
sides consisted of square-mesh treillage woodwork. Either
square or oblong windows were introduced, through
which delightful little garden views could be seen.

Fig. 102 shows a more elaborate garden temple of stone-
work at Wilbury, which forms a restful feature at the end
of a yew- walk. In contrast to it, Fig. 103 is very
typically English, probably of the late eighteenth century.
It could have a thatched roof if it were to be placed in
somewhat rural surroundings.

It is interesting to recall the probable origin of shadow -

FIG. 102.

GARDEN HOUSES

181

houses and bowers, for they take us back to the time
when Plato and Epicurus had schools of learning. They
gave up their private gardens to these centres of instruc-
tion, and scholars who wished to be near their great
teachers were allowed to erect huts or bowers near the
Museum and Exedra. The word " arbour " is derived
from "herbarium," a space
of grass planted with trees.
No doubt, as it became
necessary to gain more
protection than trees alone
could provide, solid struc-
tures were erected, which
were made elaborate or
simple according to the
style of the garden.

It is not within the reach
of all to build solid shadow-

FIG. 103.

houses, and the prices charged for most are indeed sadly
prohibitive. For a small suburban garden, or in a simple
cottage one, an easy way to obtain quickly a sun-proof
shadow-house is to put stout uprights in the ground,
placing them at regular intervals to form back and sides
of whatever size and shape the house is to be. Fill in
between these with bundles of faggots or pea-boughs.
The roof can be pointed and also made of faggots, or
else by means of stout cross-pieces a sloping roof of any
shape can be built. The pea- boughs will keep it cool,
and quick-growing creepers like Tropceolwn canariense or
hops will soon help to make it picturesque.

Likewise an ingenious way of making a comfortable
little shelter for an invalid is Fig. 104. The framework
consists of posts driven into the ground and deal battens
used as cross-pieces. A sheet of corrugated iron forms
the roof, which slopes down at the back, to allow rain to

182 GARDENS : THEIR FORM AND DESIGN

run off easily. The roof should there project somewhat
beyond the walls, so that all moisture falls away from the
house, and the sides and back are filled in with straw mats
secured to the battens. It makes a comfortable place
either for a chaise-longue or a bench, and the sides can be
extended or not, as desired.

A rather more ornamental, but at the same time an
inexpensive, structure is one where the uprights that are

fixed in the
ground are dis-
used gaspipes, to
prevent which
looking un-
sightly, and also
for the health of
plants, wooden
battens are tied
to them with
wire. The cross-
pieces are also of wood, which can either be split oak or
plain deal creosoted, according to the amount the owner
wishes to spend upon the arbour. To make a small
variety some curved lines in the roof are good, these
being formed with bent willow-sticks. The large-leaved
ivy Hedera dentata grows sufficiently thick to keep out
the sun, and this will be a satisfactory creeper for it.

A house similar in shape but with solid roof and walls,
large enough for a party of children to play in, is one
where the roof is of wooden shingle tiles, and there is a
three-feet-high cement wall, upon which the square-mesh
treillage back and sides rest. The front is open, but the
sides and back give just the right amount of air and yet a
degree of protection, while no rain or sun can penetrate
the roof.

In Italy, where arbours are indispensable, they often

FIG. 104.

GARDEN HOUSES 183

have very simple pretty ones. The framework is of
blue-green painted wood, and over the top are fixed half-
hoops of iron, painted the same colour. Straight hori-
zontal wooden battens join the sides and secure the arches
on the top, and a gilt knob at the summit gives great
finish to this rose-planted bower. If more shadow is
required straw mats are put to line the sides. It is so
easily erected that any handy man could manage it, and
save expense in buying a ready-made and often ugly
structure. A plentiful supply of straw mats is in every
Italian garden, for they are useful for shading the arbours
and also for protecting tender plants from the sun.
They are made by laying straw neatly across upon a
framework of bamboo sticks. All the ties are made with
willow-bands, and to strengthen the whole a stout bean-
stick is secured at each end.

Sometimes in nursery gardens where ferns are made a
speciality of, a skeleton greenhouse is erected without
glass. Any covering can at any time be put over this
wooden framework if required. A rather charming
fernery and shadow-house can be combined in this way.
Creepers of every sort, sweet-smelling jasmines, roses,
and honeysuckles, are planted outside to climb over the
wooden structure ; and ferns in pots or planted in beds
could be artistically arranged within. Space can be left
for tables and chairs, and this would form a very refresh-
ing green resting-place. The design need not be ugly,
for patterns could be taken from good old-fashioned
treillage-work. Of course, if ferns were to be the chief
feature of the house, it should be placed where the
strongest rays of the sun cquld not penetrate.

Since the introduction of the Japanese blinds, made of
varying sizes of bamboo-canes strung together, we have
no difficulty in protecting the sides of shadow-houses from
heat. They are not as thick as the Italian straw mat,

1 84 GARDENS: THEIR FORM AND DESIGN

through which nothing penetrates, but they have the
advantage of rolling up easily, when it is wished to admit
air and light.

In considering the graceful, inexpensive ways in which
other countries build arbours, whether it be the Japanese
roof of dried twigs mounted upon stout uprights, placed
at intervals to form a circle, with little coloured paper
lanterns suspended to decorate, or the Norwegian grass-
sown roofs, we feel that there surely is great imagination
lying dormant in England, but that it needs inspiration to
call it forth in building shadow-houses.

GARDEN ORNAMENTS

OLD books and pictures are the only means of
obtaining information about garden ornaments
previous to Queen Elizabeth's time, and even
from them the knowledge obtained is but limited. Owing
to being entirely arranged with a view to defence, castle
gardens of the Middle Ages were very confined in space.
Small level portions of ground within the high fortress-
walls were utilized to grow herbs and a few flowers
and vegetables. Pictures show enclosures surrounded
either by wattle or treillage fences, and apparently the
only ornaments were elaborately carved stone fountains
or bathing- pools, and in some cases " loggias/' or arcades,
in which the inhabitants had meals in summer. There
were two styles of flower-decoration. Either the incidents
that are depicted take place upon a " flowery-mede " ; or
a stone-paved court is represented, in which is a group
of small formal raised beds with cement edgings to them.
Sometimes a topiary tree in a large ornamental pot either
stands upon one of the brick-faced, raised banks over-
grown with herbs which were used as seats, or is planted
in the centre of a formal group of beds.

'85

i86 GARDENS: THEIR FORM AND DESIGN

Near these seats is usually a circular stone table upon
a pedestal leg, and across it is laid a narrow strip of linen
or damask, upon which are spread light refreshments.
Perhaps the stone ornament shown at Fig. 105, which
exists now in an old English garden, and dates back to
Queen Elizabeth's time, may have been used for some

such repast. Or
maybe it was a
flower-pot stand,
upon which orna-
mental pots were
grouped. It would
be interesting to
elucidate the object
of the decoration
at the back of it,
which looks like a
crown carved in
stone standing
upon a pedestal.
This ornament
would seem to be
FIG. 105. one of the oldest

which remain in

England, for the stone fountains and elaborately carved
bathing-pools of mediaeval gardens have vanished, like-
wise the small narrow cement baths in which the serving
women washed the spoons that were used at meals.

The fountains or cisterns were very highly decorated,
and had usually some figure emblematic of a saint or of
the Virgin Mary. The one introduced into the garden
in the Grimani Breviary has a dove with outspread wings
resting upon an orb. The Gothic roof below shelters
the lions' heads out of which the water gushes. It falls
into a stone basin of four half-circles. Then another

GARDEN ORNAMENTS 187

fountain is shown in a Flemish Horae. A statue of Venus
is at the top and the water issues from a globe below
and falls into three separate receptacles, so that the
first one can be used for drinking, and the other larger
basins for household purposes. The whole of this little
garden is railed round by a delightful trellis fence, and it
was evidently treasured for the sake of the almond-trees
behind the well and the flowers which surround the steps
and pool.

As time went on, fountains became simpler in style,
more like Fig. 106, and yet taller ones, which still
show some trace of Gothic decoration, until, with the
advent of Le Notre and his workmen, a revival took
place of early Italian statuary. Neptunes, dolphins, and
mermaids then formed centre-pieces to large circular
pools, in which beautiful reflections of autumn-tinted
foliage were sought. When the formality of clipped
hedges became exaggerated and Pope wrote sarcasms
upon topiary, rural grottos in which fountains played
succeeded the marble figures, and good statuary became
scarce. It is possible, now we have so fine an example
of a figure-fountain in front of Buckingham Palace, that
private gardens may give encouragement to the sculptor's
art, by a revival of marble sea gods and goddesses ; for
the reflection of such whiteness is beautiful in water.
Sometimes in the background of a figure-group, painted
by an old master, we can faintly trace some semblance
of an old garden, and in this way we are familiar with the
" Kynge's Beestes," some of which were carved in wood
and others in stone, for the gardens at Hampton Court.
History tells that in Henry VII I. 's time there were
many such columns in that garden. They bore heraldic
devices of dragons, tigers, greyhounds, such as are now
seen upon the moat-bridge which admits to the Palace.
Each heraldic beast was mounted upon a tall column with

i88 GARDENS: THEIR FORM AND DESIGN

a pennon in his paws, and formed the centre to a raised
flower-bed, round which was a low, painted wooden rail.
In those days they had not the many flowers that we
now boast, and so, perhaps, gardens required more dress-
ing up by artificial means to gain enlivenment ; for we
read, too, of gilt bird-cages and coloured glass hanging
suspended from treillage galleries.

It is possible that these heraldic representations upon

FIG. 106.

columns had as their origin the symbolic figure of Hermes
so frequently used in Roman times. This very early
decoration went by the name of Hermes. It was at first
a squared wooden post, usually tapered, and diminishing
downwards to facilitate its being driven into the ground.
Used for marking out boundaries of land, it often bore
upon it the head of Hermes, who was tutelary god of
the fields. As ornaments became more generally intro-
duced into gardens, a pillar of stone with the god's head
formed the centre of a flower-bed.

In England our climate does not allow of very free use
of statuary, and also we have not the play of strong
sunlight, which makes for real beauty when the shadow
from trees that surround the marble figure flickers upon

GARDEN ORNAMENTS

189

it in ever-changing delight. Some few gardens lend
themselves to such an effect, where the heavy green
of a clipped hedge calls for a stone figure to lighten
the darkness of a niche cut in it. In this case the statue
should be really well carved, and it adds to the interest
if a figure emblematic of the surroundings be chosen.

All gardens, large and small, are helped, however,
by the introduction of
some tall feature ; and if
stonework be out of the
question, from the point
of view of the cost, or the
difficulty in obtaining just
the subject that would be
suitable to the garden,
then it is well to fall back
upon a carved wood or
treillage standard. Such
a feature, as it forms
perhaps the centre of a
rose-bed, is a means of
leading the eye upwards to
beauties of colour or form
which are above the level
of the eye. It can be made of wood, painted a favourite
colour, and is fixed firmly by means of a patent in the
centre of a flower-bed, and being thus quite immovable is
admirably suited to support climbing roses. These are
trained outside the standard, and a few shoots can also
find room within the treillage work, so that soon the
only part that is well seen is the small heraldic device
at the top. A group of beds, with one of these in the
centre of each and various emblems on them, makes a
rather charming garden.

Where a garden needs less formal treatment, perhaps

FIG. 107.

GARDENS: THEIR FORM AND DESIGN

near a natural lake or rock garden, one or two Japanese
wooden lantern-holders like Fig. 107 give delightful
colour in the day-time, as a considerable portion of the
woodwork is painted a red orange colour. The part
in the centre (C) is white with black lines across it, whilst
the quaint, hat-like roof is black. If they are carefully

placed they fit in naturally
with semi-wild scenery,
where it would be im-
possible to put any feature
more formal in character.
Then, too, they have the
advantage of holding a
lantern, and there is
nothing prettier or more
'Balcony original than a garden
which is lit up at night.
In a wilder part of the
garden, in the corner of
an old orchard, perhaps, a

-n r simple dovecote mounted

PoZe.uerj/taU. „ , ,

upon a tall pole looks

well. There is no more
restful sound than the soft
cooing of doves, and a
flight of pure white fan-
tail pigeons, as they fly
down when a handful of
maize is held out, is a

picture in itself. The feathers they scatter prevent them
having a good reputation with tidy gardeners, so that
a piece of ground with grass beneath is to be sought
for their wooden house. Fig. 108 shows a simple but
picturesque one which any handyman can quickly con-
struct.

FIG. 108.

A, Roof covered with felt.

B, Cask painted white.

C, Holes for nests.

SUNDIALS

GARDEN craft has been taken up with such ardour
by the majority of English people, that there
is danger of the architectural and decorative side
becoming somewhat overdone and injudiciously executed.
The art of leisure has vanished. Is the power of restraint
in art hastening to take flight as well ?

In old gardens it is not unusual to count eight or more
sundials and some half-dozen weather-vanes, but they
are so carefully selected and executed, they fit with such
harmony into the surrounding scene, that they only form
a happy part of it. We are not especially conscious
of them ; it is only as we reflect later, at leisure, upon
the satisfactory whole impression, that the sundial or
other ornament becomes in any sense individual or
detached from the picture. Time helps in this, for grey
lichen or green moss softens what would stand out more
prominently in freshly carved stone. Perhaps, too, it is
not only the careful placing of each object that pleases,
but the skilled craftsmanship, with which it has been
carved. A small personal touch, such as hearts entwined
and the motto Bien faire, laisser dire— leaving us

191

Weather-Vans

SUNDIA

192 GARDENS: THEIR FORM AND DESIGN

pondering as to the past story which lies concealed —
adds to the joy of garden exploration. In front of an
old curiosity-shop in some village remote from tourist
invasion, are four little figures in lead of children sup-
porting graceful flower-baskets
on their heads. Each stood once
upon a square block of stone,
now, alas ! sadly maimed and
broken. There is a larger ped-
estal for the leaden Cupid that
should form the centre to this
delightful group, holding in his
hands above his head a square
sundial. " You may waste but
cannot stop me " is the motto
upon it, and the initials of the
owner, the date and name of a
craftsman belonging to a neigh-
bouring town, carefully carved in
the stone, seem to bring us in
close touch again with the little
square parterre garden which
these figures of children helped
adorn. The whole was so evi-
dently arranged by people who
were in close accord. What a
difference from the ready-made
ornaments, each exactly similar
and formed out of one mould,
which are now quickly packed up
at business houses and despatched
to their destinations. There is no trace upon them
of individual craftsmen.

Books have been written upon sundials and their
mottoes, so there is no excuse of lack of suggestion

FIG. 109.

SUNDIALS

193

for those who are able to employ a good, old-fashioned,

careful craftsman to execute something that will go with

the garden, and will leave behind a pleasant impression

of the garden-lover who took time to select and place it.

Let us consider one or two types of sundials, before

passing on to other architectural ornaments. To be really

useful, any kind of timepiece

should be in a position

where it can easily be seen,

and for a dial which is to be

marked by sunlight it is of

course important that it

should stand in a prominent

position, where light and

shade play freely upon it.

It is therefore ill-con-
sidered to place such objects,
as we sometimes see them,
with a view only to the
ornamentation of the garden
and without consideration of
the original object of the
dial. We now have clocks
and watches to tell the hour,

but, nevertheless, it is always an interest to see that the
shadow-clock marks time correctly.

Fig. 109 is perhaps not a very good one in this respect,
as it is so high from the ground that only a vague impres-
sion of the hour can be had. It originally was a market
cross, which for some reason or other had to be moved,
so a home was found for it at the end of a long vista in a
garden. Stone-built, standing about seventeen feet high,
it combines a seat below with an iron weather-vane on
the top, and is a suggestion for anyone who wishes to
rescue another such handsome stonepillar from destruction.

FIG. no.

194 GARDENS: THEIR FORM AND DESIGN

As a model of what the ideal sundial should be from
the point of view of proportion and height, Fig. 110 is
good. Its date is 1667, and it commemorates the Great
Fire. It has a clock face upon both sides, so that morning
and evening have separate dials. Perhaps one of the
most original positions for a dial is when it stands upon
the angle of a terrace wall, overlooking distant country.
I have seen one which was approached by three rounded
steps that led from the terrace walk to it. This one had
the advantage thus of being placed in full view of the
sun and so it was easy to see, for the shadow fell upon it.

Then again, let in a red-brick wall nothing looks better
than a grey stone-faced dial, the little roof and ornamenta-
tion showing Elizabethan taste (Fig. in). Its motto
" Ray for no man " seems in character with its somewhat
stern face.

In our climate it would appear that lead- work is more
appropriate than stone or marble. It is durable, and the
dark colour as a rule is more restful near trees and flowers.
It is to be hoped that the revival of such, with careful
detailed workmanship and the study of suitable positions
for it, will be encouraged in the future.

FIG. in.

NOTHING perhaps adds more to thorough enjoy-
ment of a garden than plenty of arbours in varying
aspects, beneath which the garden-lover can rest
in complete enjoyment of sweet scents and lovely flower
colours that surround him. It is necessary to know a
garden well before advice can be proffered as to the best
places to select for garden seats. There are many points to
be considered: whether shadow or sunlight is most wanted,
if it is only with a view to guiding the eye along an
important vista and having an architectural object or a
meaning at the end of it ; whether the resting-place is to
be in absolute quiet and seclusion, where a busy man or
woman can carry on work in peace and quiet, or if it is
required for many friends to have the enjoyment of
animated talk and laughter.

For real comfort, perhaps, nothing is more luxurious
than a chaise-lounge with plenty of soft cushions ; a
table by its side, upon which is an ample supply of books,
from the latest yellow paper-covered French novel to the
best garden book, full of possible creations ; and a large
spreading oak-tree above. No greater happiness is
possible on a still, warm summer day, with the cooing of
wood-pigeons in the woods near by, the splash of a
fountain in the distance, and the delightful prospect of a
friend who will come later, when the " long unhampered

196 GARDENS : THEIR FORM AND DESIGN

day " has run its course. In all gardens, however, even
if they possess ready-made positions with overarching trees
and smooth lawns for garden encampments, there is a call
for originality of design and position for seats.

When we consider the number of beautiful garden
ornaments which have been invented in all countries and
at all times, it is with real sorrow that we see so many
survivals of an era of not particularly good taste, in the
shape of iron benches. It is their undoubted durability
which has preserved them, and we who try to rest upon
them are the sufferers, not only from their unpleasing
appearance, but from the ill-chosen formation of the back.
They remind us of those uncomfortable open carriages
which have seen better days and yet are still used in some
small country village to meet the belated traveller. They
are shaped so that neither by stooping forward nor by
reclining absolutely at full length can comfort be obtained.
Let us stretch our limbs again in freedom and move on to
more picturesque ones, even if they do not happen to
possess the restfulness of a hammock or beehive chair.

From old Italian pictures and books we learn that
beneath galleries or treillage bowers there usually were
seats. The word "casa" was not only applicable to a
small country house, but the name was also given to
bowers made of willow-wands interlaced, or other wood-
work, over which vines were trained. The French name
for these was berceaux tVosiers, which is descriptive.
The seats were often of stone and were more formal and
architectural than the surrounding arbour. In our country
stone seats are only possible if a smooth plank of wood,
painted the same colour as the stone, rests on them. We
then gain the advantage of having a solid, durable
foundation as well as good moulding or carving of the legs
or supports, which are handsomer and more lasting in
stone than in wood.

GARDEN SEATS

197

FIG. 112.

Fig. 1 1 2 shows a somewhat similar arbour or gallery ;
but here the treillage frame is more ornamental in design,
and although it is made of wood it is handsome enough
to be in a large garden. In this case it would only be
considered as a resting-place for a moment, when we sit
with friends for a short time to talk, on the way to
another part of the garden.
The seats are narrow, so as
not to take up too much
room in the pathway, and
more solid cross - pieces
should be between the up-
rights, so that there is com-
fort and support in leaning
back. These berceaux are
suited especially to small
gardens, where there is satis-
faction in knowing that no

inch of ground is wasted, for fruit or ornamental
creepers can be grown over the framework, and other
crops are cultivated close up to these.

In Italy they often had more stately ones, and in most
gardens we find stone-built buildings, in which are deep
alcoves, going back so far that (except in the middle of
the day, when no one would dream of interrupting the
" siesta " to sit out of doors) there is partial shadow on
one side, at all events. Usually tall cypresses are
near, projecting somewhat in advance of the sides
of the building, and these keep the sun from penetrating
within. To complete the picture a pink Judas-tree is
near.

Sometimes in a small garden belonging to what is now
a farmhouse, but was probably a place of no small
importance three hundred or more years ago, a great
surprise awaits us. Either elaborately worked iron gates,

ig8 GARDENS: THEIR FORM AND DESIGN

a shadow-house, or a small temple shows that the original
owner was in a position to afford himself the assistance of
able craftsmen. Near an old house, said by the villagers
to be haunted, lies a garden that is worth visiting in spite
of rumours to the effect that tragedy may overtake
the incautious visitor. Upon a raised grass mound, above
a playground which is now disused, but once, no doubt,
was for the game of bowls, is an Elizabethan stone seat.

It bears distinct resemblance
to the Italian alcoves we have
been discussing. At present
it stands isolated, with no other
decoration near ; but doubtless
at one time it was an important
feature in the design of this
garden, and probably a clipped
yew hedge was upon either side
of it. The Italian craftsmen
who may have been doing
other work in the neighbour-
hood— for at that time, we
know, there were many in
England — evidently thought it
wise, in so cold a climate, to put this seat in full view of
the sun ; a dial is in the upper part of the recess, so that
it bears the rather unusual advantage of being both a
seat and a sundial at the same time. The hours are
marked by long lines, and the half-hours have short ones
to denote them (Fig. 113).

In large gardens, alcove seats are often very elaborate
and remind us of that grand one built by Wren, which
stands forlorn and meaningless, free of any fixed position in
garden design, near where the fountains play in
Kensington Gardens. It is to be regretted that we have
not yet mastered the importance of leading up to such a

FIG. 113.

GARDEN SEATS

199

lovely feature and making it the centre of a parterre or

view.

Fig. 114 shows steps leading to a somewhat similar

seat, which is further ela-
borated by having hand-
some flower-pots on the top
of the pilasters support-
ing it. The ground-plan
(Fig. 1 1 5) shows how such
an architectural feature is
best approached, for where
there is stately stonework
there should be formality
before we reach it. The
best effect is obtained by a
FIG 114. path increasing in width,

and a hedge added to in

height as it gets nearer the flight of important steps

that lead to the alcove.

How curiously fashions change we see in Fig. 116,

which could be described in

almost the same words as

Fig. 114. For it, too, has

flower-pots on the top of the Path

pillars that support the seat ;

and yet a difference in shape

and the somewhat low long

lines show it to be "Empire"

in style. It certainly is not

elegant nor graceful, al-
though the fan-shaped pattern

and the knob upon the back

of the bench are not un- FIG. 115.

pleasing.

Yet another is of the same date, and reminds us of

Eastern decoration, there being something Egyptian and

YewHed£e
6V high

Yew Hedge
6' high

200 GARDENS: THEIR FORM AND DESIGN

sarcophagus-like in the shape of the whole and the
termination of the pillars. For a good specimen of an
important stone seat, suited to an Italian garden, the
reader is advised to look at " Pompeian Decoration," by
R. A. Briggs, wherein is one which bears the somewhat
mournful name of "Sepulchral Seat," but which would

make a grand termin-
ation to a long tall
avenue of dark trees.
Where there is a
call for stonework
upon high ground,
to overlook a distant
FIG. 116. view, something

rather Gothic in de-
sign would take us back in mind to a monastery of the
Middle Ages, where ornaments for all purposes, house or
garden, had an element of what we should call " Church "
decoration about them. The small openings between the
pillars above this style of seat would be delightful to look
through, if the eye could roam over some great stretch of
enchanting English woodland or upland country.

Knowledge of these old gardens is chiefly gleaned from
miniatures in missals, and we learn thus that in the inner
court of a castle a raised seat was often formed with a
brickwork foundation. Evidently enough soil was placed
on the top of this to enable either thyme or other herbs
or grass to grow freely. Usually these were so arranged
that there were three levels. The highest was a
brick wall, sometimes a portion of a turret or rampart of
the castle, so that the approach of an enemy could be
well seen from here ; or else the wall formed the boundary
of a lady's garden. This brick or stone work was used
to lean back against, as the next tier below was the seat.
Upon this grew the herbs to make a soft and sweet-

GARDEN SEATS

201

smelling cushion. Then came a third and lower level,
with a narrow strip of pavement or brickwork to keep the
feet from damp. Often the brickwork which formed these
seats was built round three sides only of a small garden
or court, so that access to the grass-plot or bright flower-
bed in the centre was gained upon the fourth side.
We can picture

how bright and
gay such little
gardens were
from the pictures
we see of ladies
plying their
tapestry - craft,
whilst gaily
dressed pages
played the lute
or harpsichord to
while away the
time.

FIG. 117.

It is to Holland that we go for treillage seats and
arbours, many of which are nice to copy for English
gardens. As they are only made of wood, any ingenious
handy man can erect them if given an idea as to the
proportions required in the particular site that is chosen.

A very charming one is Fig. 117, which is evidently
built against a wall. Four wooden columns support it,
and a dome-shaped wooden roof rises from these. The
intervals between the main supports are filled with wooden
battens, either placed straight or extended fan-shaped
from a centre. The little decorative knob and flag on
the roof give a pleasing lightness to this design. The
woodwork can be painted any colour or creosoted.

In all work it is often necessary to modify greatly the
designs, whether they are suggested by ancient craftsmen

202 GARDENS: THEIR FORM AND DESIGN

in old books or submitted by the men of to-day. We have
to keep in mind that the designer is anxious to please
in some way or other, and therefore he is apt to crowd
into one sketch or plan a great many ideas, hoping that

FIG. 118.

one or two of them at least may find favour with the
future employer. Thus in Fig. 1 18 we must not take for
granted that all the detail there included would look well.
The main ideas, however, are typical of taste about the
time of William and Mary. Evidently this garden-seat
was intended for two purposes — to form a feature at the

GARDEN SEATS 203

end of a walk and to enable the spectator to sit and look out
through the trellis-work at the country beyond. Notice-
able is a creeper, planted at the back and guided up to
extend its branches in a treillage vase which stands upon
the roof. The treillage globes upon either side are
ornaments that were usually introduced at that time.

Another idea from Holland is for a circle where four
paths meet. Upon a raised bank, which has two tiers and
thus forms a seat with a back to it, is a very prim-looking
little clipped tree. This idea can be utilized in a much more
natural way by planting a tree upon a large raised mound
and allowing it ample opportunity of extending its limbs
freely, thus casting plenty of shadow over the occupants of
the garden bench.

Somewhat later than the treillage seats came the intro-
duction of more solid woodwork. Probably Georgian
taste introduced a heavier and more durable type of painted
woodwork. Thus unexpectedly in the stillness — perhaps
one might almost say the dulness — of some small, almost
disused " Residenz Garten" of a German town, we have
sometimes come upon a garden bench well worth copying,
lest it should never be seen again. I remember one the
back of which was formed by decorations which reminded
of the Prince of Wales's feathers. Yet another, found in
the garden at Schleissheim, near Munich, although simple
in its general outline, betrayed unmistakable French
influence in the curves of legs and back and the slight
touch of what would be called " Early Chippendale " in
book-plates or mirrors.

Perhaps the last pattern submitted may find most favour
in general, for it combines solidity with plain but not
unsightly lines, and further has the advantage of a smooth,
comfortable back. It should look well in most gardens,
for it is unpretentious and therefore suited to a small one,
and yet there is a quiet dignity about it which would

204 GARDENS: THEIR FORM AND DESIGN

enable it to hold its own at the end of a fine vista,
Fig. 119.

Thus in our wanderings through many gardens we see
that there are fashions in all things, and it rests with the
man or woman who knows the true beauty of the
individual garden in question to select the seats that

will add most to restfulness,
and perhaps be the least
conspicuous. We know that
Rowlandson, in his illustra-
tions to " The Vicar of
Wakefield," was tempted to
FlG§ II9> do two separate illustrations

of that " seat overshadowed

by a hedge of hawthorne and honeysuckle" where so many
important incidents of that delightful story occur. We
find, too, that a different garden ornament may totally
convert a place which is insignificant or even unsightly in
appearance to a pleasing, delightful spot. As with the
arrangement of furniture in a house, so here it will not be
so much the striking beauty of the furniture as the
general restful, happy unity of the tout ensemble that will
send us away thinking, " What a perfect garden !"

ONE of the greatest charms of Italian landscape is
the winding shadow-path, outlined by tall cypress-
trees, which slowly ascends to church or shrine.
We cannot connect haste with it, for the roadway
appears to wander at leisure up the steep hillside,
choosing always a direction that lies most in shadow when
the noonday sun burns fiercest.

Occasionally there are straight avenues leading direct
from a villa, so that no time is lost in running down to
catch one of those crowded little steam-trams that ply
between Florence and the country villages. The
cypresses which outline the grass path are planted so
close together that only two can walk abreast, and a dense
cool shadow is cast across the footway. Yet darker is the
shade where steps lead down to the highroad, because it
is here, in the half-circle formed by the tall trees, that a
pause is made to await the distant sound of the child's
tin trumpet betokening the approach of the conveyance
that speeds us to the city.

Italian steps in gardens take a leisurely course and are
usually arranged so as to give many resting-places
between the ascents to different terrace-levels. There
are often two flights starting in opposite directions to gain

205

206 GARDENS: THEIR FORM AND DESIGN

the same terrace below, so that there is a choice of sun or
shadow according to the time of day.

In old pictures of the Vatican gardens we notice many
such easy ascents, arranged so that the stairway should
pass by little recesses or temples, built well back into the
retaining wall where the sun could scarcely penetrate.
Here shade and coolness were obtained, and we can
picture the processions of red-robed cardinals who
paused upon their way to ponder and discuss the serious
problems concerning the Church (Fig. 120). The incline

FIG. 120.

At Palh ; B, beds or shrubs ; C, temple or summer-house; D, steps.

was always gradual and easy, and each terrace with its
small temple gained variety through the different direction
the staircase took.

In these steps belonging to old gardens we find leisure
and dignity considered ; and even if we cannot all copy
them in stone, it is well to study carefully their proportions,
so that, if need be, it is possible to reproduce with humbler
material.

In the gardens of the Benedictine Abbey of Jumieges,
near Rouen, is a beautiful specimen of a garden stairway*
Fig. 121 represents roughly the lines it takes. Here, even
if it is not possible to build brick retaining walls, the
shape and graceful circular outline of the originals can be
copied by planting wichuriana roses, rosemary, or other

STEPS

207

shrubs upon the raised banks which will take their place.
The humble tarred railway-sleeper even can be utilized in
place of stone steps, and with small alpines growing in the
joints between it will look well. So many are prevented
by the fear of cost from making gardens ; and yet it is
best to plan out in correct proportion from the outset, and
execute temporarily in
woodwork, to be fol-
lowed later by elaborate
stonework as soon as
the exchequer allows.
Therefore all notes that
can be made as to the
width of steps, their
height so as to provide
an easy ascent, and the
different landing-places
where rest is secured,
are sure to be of use,
whether we execute
stone, brickwork,

m

FIG. 121.

A, Path widening as it nears D.

B, Plateau with sundial, H.
BJ, Similar plateau.

D, Steps.

E, Brick retaining walls to terraces.

wood, or grass.

There is no doubt
that even in gardens
which are not upon a
steep hillside it is good
to make, if possible, dif-
ferences in level. There-
fore where a place does not possess these naturally they
should be contrived, for it helps towards the incidents and
surprises that are so important in garden design. Such
diversity of height has to be considered chiefly for the
actual pleasure ground; and near where steps occur
there must be a workman's path, upon an easy incline,
where a wheelbarrow can ascend.

208 GARDENS: THEIR FORM AND DESIGN

A very charming form of stairway is one which can
easily be made of turf. Its beauty lies in the shape of the
steps. A grass circle is upon a level, and two buttresses
of stone or earth banks, as the case may be, and about
three feet high, form a retaining wall upon either side.
From the grass circle eight or nine concave-shaped
circular steps ascend the hill, and likewise below it, a
similar number of steps, but convex in shape, descend to
the terrace below. In both cases the height of each step
is very small. The beauty of the whole lies in this and
the complete circle formed by the two flights of stairs.

In old Elizabethan gardens we often find these same
circular-shaped steps made with bricks, and no doubt they
follow the design suggested by a workman from Italy.

The actual tread is about a foot wide, and the bricks,
those curious long narrow ones made about that
time, are laid sideways, so that the narrowest part forms
the tread. The circles are rather narrow and confined,
and this gives a quaint old look, but is sufficiently
comfortable to lead to the raised terrace-walks that were
often made, where only one or two were supposed to walk
and overlook the knots and parterres of the rest of the
garden.

In dealing with straight flights of steps, not round or
oval ones, it adds to the dignity to increase the width of
the whole flight as it approaches the terrace below. This
carries out the line usually taken by a balustrade, which
runs out to left and right as it approaches the bottom of
the flight of stairs.

In Spanish gardens we find an ingenious and pic-
turesque way of conveying water down a brick-paved con-
duit or open gutter upon either side of steps. When the
last one is reached, this small cascade flows into a cement
pool, and from thence is carried underground to the next
flight of steps, when another small waterfall is thus con-

STEPS 209

trived. Such water-step gardens were often arranged in
hot countries, both for ornament and to cool the air.
Nothing could be finer for a show place than the stone-
work amphitheatre of the Villa Lante at Bagnaia, where
spray fountains rise all round, alternating with tumbling
miniature cascades, and vases filled with bright flowers
stand upon the surrounding balustrade reflected in the
water.

There is a special charm about stairways which descend
to the water's edge. Whether we think of those at
Venice that are used as landing-places for gondolas, or
the sparkling white ones reflected so clearly in the Italian
lakes, or even the humbler ones along our River Thames,
there is a fascination about them all. Here should be
very careful architectural planning, because we have
not only the staircase itself, but also the reflection of it in
the water. All faults of colour or proportion will appear
more vivid in the mirror than in real life. Then, too,
ample width is important to allow for landing from boats,
which is done in discomfort if space be limited.

For small suburban gardens, where it is not possible to
achieve water amphitheatres or even terrace-walks, it will
yet be possible to gain a different level in the garden by
having recourse to another plan. A flight of wooden,
rather ladder-like steps can lead up to a gallery surround-
ing a portion of the trunk of a tree. This, if the tree
chances to be large and overshadowing, will give a very
delightful retreat, in which the family can do their reading
and writing. There is something that recalls the Swiss
Family Robinson about it, and this feeling of a spice of
adventure is all the more enjoyable. Such a plan could
sometimes be adopted in large places, where ground near
a house is levelled, and perhaps, in moving earth to make
a smooth lawn or parterre, one fine tree is left upon a
lower level than the newly-laid-out ground, a wide ditch

210 GARDENS: THEIR FORM AND DESIGN

separating it from the rest. Either steps or a wooden
inclined plane or movable bridge can then be stretched
across to reach the wooden platform amongst the branches
of the tree (Fig. 122).

Thus we learn that all flights of steps should be

important additions to the beauty of a garden. From
those small ones upon which a statue rests, to the well-
spaced and carefully moulded stately stairs intended for
the reception of Royal personages, all give height and
life to the whole. It is not so much the quality of
material which matters ; correct proportion is what speaks.

STEPS

211

Many are the elaborate stone balustrades and stairways
upon which hundreds have been spent, yet dignity and
importance are omitted. A simpler, well-proportioned
structure would have entirely altered the character and
enhanced the beauty of the place.

KITCHEN GARDENS

IN early times, when the Norman influence was still
felt in England, gardens were practically what we
call " orchards." Fruit-trees were predominant, and
between them were vegetables and the few flowers then
known. These were what grew in the wattled enclosure
divided off from fields, which was used to supply the
kitchen with delicacies. This piece of ground went by
the name of " Pomarium," and later was called " Apple
Garden," which, like " Shadow House" and " Orange
Garden," are quaint names that might well be revived.

Any information we have about old gardens is derived
chiefly from MS. calendars, in which are glittering gold
and many-coloured illuminations showing the things that
industrious monks cherished most in their orchard-gardens.
It is curious that the early spring months of the year are
those in which we find most records of horticultural
matters. Was this because winter days seemed very
short at that time, through scarcity of artificial light, and
because the windows were small ? Or was it that the old
fellows, like all true gardeners, were busy in the autumn
and early winter at work upon the land, preparing ground
for the crops which later were to go in, and therefore they

212

KITCHEN-GARDENS 213

could not devote much time to literary work until longer
days began ?

Garden craft in all usual routine work has altered
astonishingly little since those days. In pictures we
recognise many operations which are still done in the same
way. We have fewer superstitions now, for these have
passed away together with some of those delightful names
of flowers that were taken from festivals of the Church.
For instance, " Our Lady's Bunch of Keys " is no longer
connected with cowslips ; nor is " Our Lady's Workbag "
used to designate a calceolaria ; nor " fior de Santa
Caterina" remembered as descriptive of a daffodil. It
would be interesting to see if Petrarch was right in his
opinion that anything planted upon February 6th, if it
fell under a good moon, will flourish. Another idea
agreed to by most was, that trees abound in sap at the
full of the moon, and are driest or freest from sap during
her last quarter ; also that plants usually grow faster
during the increase of the moon than during its decrease.
In agreement with this we find Thomas Tusser's remarks
written about 1550 :

" Sow peas on and beans in the wane of the moon ;
Who soweth them sooner he soweth too soon.
That they with the planet may rest and rise,
And flourish with bearing most plentifully wise."

Other garden superstitions can be traced to the influence
of the Church, because monastic gardens were the chief
ones in the Middle Ages, being sanctuaries of peace and
quiet, where turmoil and din of war scarcely penetrated.
Thus we learn the old saying : u Put in rosemary cuttings
on Good Friday, and they are bound to grow." So, too,
many garden-craft ideas crept into England from far
distant lands, introduced by emissaries sent by the Pope,
and thus came ideas of Italian vine-culture, with accounts
of plants not indigenous to our country. Sometimes an old

214 GARDENS: THEIR FORM AND DESIGN

name of a place is the only surviving recollection of where
vines were planted in imitation of foreign ones, and
amongst these is Compton Wynates, which takes its name
from a famous vine that once grew there.

It would seem that the old-fashioned arrangement of
growing a plentiful supply of fruit, together with
vegetables, is a good one, for town gardens or where
space is limited, for plain square plots of ground look best
outlined with espalier fruit, and unsightly buildings are thus
hidden from view. In a small kitchen-garden, where it is
important to plant as much as is possible in a limited space
for profit, it is a good plan to have bush fruit-trees outlining
all rotation plots. They form protecting lines down these
at intervals, whilst pyramid-shaped fruit-trees look well
breaking the line of an espalier.

Care must be taken not to rob a small garden of sun-
light by planting too many large bush fruit-trees, and it is
for this reason that cordons, both on walls and little
dwarf ones as edgings to paths, are profitable as well
as ornamental. Their upward growth upon walls and
espaliers is to be encouraged, for the higher the wall, the
more fruit is obtainable, and by training the trees in a
sloping position where the walls are low, a large yield of
fruit is secured. Then again, wherever possible a
circular boundary wall is best, as it accommodates more
trees than a square one.

The French have thoroughly mastered the art of
training fruit advantageously, but about this and the glossy
appearance of the stems and branches of well sprayed,
carefully cleaned trees, we yet have more to learn in
England. Each tree should have the same cared-for
appearance that a well-groomed horse presents in the
satin shine of his coat, and should not betray that
unmistakable green of moss and lichen that is a sure proof
of negligence.

KITCHEN-GARDENS 215

The success that has attended all recent efforts at
reviving fruit-bottling and preserving, together with
jam-making, has taught the householder that the
kitchen-garden has to be even more considered in its
workable and practical lay-out than the ornamental
flower-garden.

It is with some surprise that we notice what small
progress has been made in this direction since the days of
the old monks that have been referred to. They were
almost entirely dependent upon manual labour, and
doubtless found relaxation from their many forms of
serious reading and earnest prayer by wielding the
spade. They had leisure in which to prepare the ground
and plenty of young monks to fetch and carry for them. It
is very probable, however, that in years to come many
large gardens will remain shorthanded, for the rise in the
price of labour must necessarily affect all classes. Then,
too, the shorter working days and the extra holidays that
are being instituted will mean a decided decrease in
production, unless steps are taken to counteract the effect
that these new regulations are bound to have upon
agricultural and horticultural work.

The best solution for these troubles, in the working of
a large kitchen-garden, would seem to be a recourse to
machinery. By working the land with a small plough and
horse-power far more could be quickly accomplished, and
a piece of ground that it would take a man several days
to dig could be ploughed by a man and a stout cob in one
morning. He might, perhaps, require the assistance of
another to guide the pony, but this light job could well fall
to the lot of a crippled soldier, or if women were included
in the staff one of these could undertake it. Those of us
who are, in these days of reconstruction, watching over
the progress of vegetable production worked in combina-
tion with live stock such as goats, rabbits, and poultry,

216 GARDENS: THEIR FORM AND DESIGN

upon the lines of a smallholding, will welcome any time-
saving inventions.

With hope for such future developments whereby
Planet ploughs and hoes may be introduced at a reason-
able price, we look to the influence of the Royal Horti-
cultural Society or some other Committee that has pro-
gress at heart. If a variety of implements are invented
that can be attached to these handy little ploughs, such
work as earthing-up potatoes can be quickly done.

How will horse labour affect the lay-out of the kitchen-
garden ? It will necessitate planning to have vegetable
crops grown in long, uninterrupted strips, where no fruit-
trees or boundary fences will interfere with the work of
the pony and plough. Consequently, in places where
more than one acre is devoted to vegetables, it is
probable that all fruit will be kept in one portion of the
garden, in the orchard or Pomarium (to return to the
ancient name), and the vegetable-garden will resemble
a market-garden. The upkeep of many large old-
fashioned places has during past years become increas-
ingly difficult unless the surplus vegetables are sold, and
therefore it will interest private people to study successful
market-gardens and to keep in view the possible results
that might accrue from the use of travelling greenhouses.
By skilfully grouping together certain crops that require
forcing at the same moment, these houses can be easily
moved from one plot to another to induce early growth.
It is always difficult to run a satisfactory market-garden
in conjunction with a private house, because when parties
are given all the best things are naturally required for
friends, and the customers at such a time come off badly.
When this is likely to occur it is advisable to be in
touch with an honest salesman, so that fluctuating supplies
of surplus vegetables can be sent to him instead of to the
consumer direct.

KITCHEN-GARDENS 217

The wisest course before deciding definitely upon
planning a kitchen-garden is to study both market-gardens
and private ones in different parts of this country, and
to note, too, any points that are serviceable in foreign
ones.

For instance, the orchard market-gardens near Paris
contain bush and standard apples, pears, plums, and have
beds of strawberries in between. By arranging to have
raspberries, gooseberries, and currants, etc., in plantations
that have different aspects and positions, the time of
fruiting is prolonged.

In many of the big fruit and vegetable market-gardens
near London, they run lines of fruit-trees from north to
south, and as there is sometimes trouble from over-
moisture, the trees are planted upon banks about eight
feet wide, a deep drain runs upon either side, whilst in
between the fruit-trees are beds of tulips or other bulbs,
and hundreds of spring cabbage. Small bush fruit, such
as raspberries, gooseberries, and currants, are planted
alternately in between the apples.

Often, in a long drought, when weeks continue without
rain, one irrigated acre may save loss on fifty or more acres
that have no water ; for the price of lettuce or other
produce will be exceptional, and thus a large sum is made
upon the small bit of ground which is easily watered.

As regards laying out a kitchen-garden upon sloping
ground, there is no better plan to copy than that of the
Italian market-garden. The land is divided into separate
plots, but in order to prevent water from running off them
to the bottom of the hill, a four- foot- wide path runs at
intervals across these plots and is made level The
water can be caught in a narrow grip or ditch before it
reaches the path, but, even if this has not been arranged
for, the mere fact of having a flat piece of ground where
the path is will intercept the headlong course of water

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218 GARDENS: THEIR FORM AND DESIGN

down the hill. The plots for vegetables can be sheltered
at each side by espaliers of fruit. Apples or pears, goose-
berries or currants, grown upon fences, will thus take
the place of the vine espaliers which they have in Italy.

Sometimes the ground of these Italian gardens lies in a
sort of sloping amphitheatre, which has an open south or

south - eastern
aspect, but is
protected from
north and west.
If the ground
does not of itself
give this protec-
) Jf; tion, and should
it be greatly re-
quired, it is very
easy, with the
help of a few
navvies, to throw
up a great mound
of poor soil,
stones, or rub-
bish ; and by col-
lecting a foot or
more of good
soil and placing this on the surface an ornamental and
protecting mount is formed. It can be placed upon which-
ever side the prevailing wind is most punishing. If the
weather comes from the south-east, this erection of earth
will well protect plants that are upon the opposite side.
Such a mount can be planted with trees and shrubs and
quickly made quite an ornament, adjacent to either the
practical working kitchen-garden or to the pleasure-ground.
Where it is considered best to unite beauty with the
practical side, and to have a good herbaceous border in

FIG. 123.
A, Tank. B, Path.

C, Herbaceous border.

D, Posts with chains for climbers.
E, Fruit espalier.

KITCHEN-GARDENS 219

the fruit-garden, Fig. 123 perhaps combines most of
these requirements. If the garden affords sufficient
space, this pattern can be repeated several times, so that
in each direction there is a circular tank of water near
where paths meet. By having tall uprights with roses on
them, and a pergola with fruit trained over it, the
vegetable-garden is not too much seen, for, interesting as
it is to the grower, it can seldom, without the help of
fruit and flowers, form as good a picture as the pleasure-
garden.

Certain vegetables, however, are handsome in their
foliage, and amongst these should certainly be re-
membered the globe artichoke. It can safely be put near
a picturesque portion of the garden, for its ornate leaf
reminds us of the acanthus-leaf, so much introduced into
all design work, and it is one of those more or less
permanent crops which are left undisturbed in the same
spot for years.

Another vegetable which is not sufficiently grown is a
self-blanching celery called " Plumes." The plants are put
out very close together upon the ground that a short time
before has been tremendously enriched for bringing on
early carrots and other French garden stuff. The great
advantage of this kind is that it needs no earthing-up,
and therefore, apart from the saving of work, it also
looks nicer than the ordinary celery in its ugly straight
trenches. The " Plumes " celery is ready for use in
September, and in taking up any of it a plank of wood is
laid across where the next row comes, so as to keep it
dark. The plants need no tying, for they stand erect,
being quite close together.

It is often questioned what should be the width of main
paths in a kitchen-garden, such as Fig 123, and, as the
number of feet seldom conveys meaning to an amateur, we
would suggest the lime-tree gallery at Kensington

220 GARDENS: THEIR FORM AND DESIGN

Palace as a suitable width, because it is wide enough to
allow of practical work being carried on. There should
besides this be easy cart-track access to the frame-ground
where all soils and manures are deposited, and also there
should be minor working paths, with bricks along the
centre of them, for wheelbarrows to run easily.

The Great War has so altered our views in many
respects that whereas formerly the vegetable plot was one
which we hurried past, giving but a cursory glance at its
contents, we now desire to give it prominence.

It is essential that every practical comfort, such as
ample water supply, a proper storage place for manures,
convenient sheds, bothies, outhouses, and stabling should
be within easy reach. Good workmen having suitable
tools to hand accomplish wonderful work in all professions,
but garden operations will drag on indefinitely if the men
are impeded by an indifferent provision of storage
accommodation.

Let us, therefore, study "the tool and potting-sheds,
which are the heart of all," as carefully as we consider the
sheltered hedged-in garden or the surprise gardens that
are to give pleasure to our friends. The time has come
for great developments by means of horse-power,
machinery, and labour-saving inventions, so that this
twentieth century may see every inch of our private
kitchen-gardens yielding fruit crops. The Japanese view
the practical operations of mushroom-picking and shell-
gathering with the same refreshing sense of pleasure
which they bring to bear upon walking through an
orchard to admire the plum-tree in blossom, named by
them " the eldest brother of the hundred flowers." So,
likewise, should we bring interest to bear upon the
market-garden with its pony plough, the profitable goats
that help the gardener by eating down the long shrubbery
grass, and the many objects closely interwoven with the

KITCHEN-GARDENS

221

smallholding style of profitable gardening, that have
hitherto been studied only by the professional.

It may, perhaps, be suggested that garden- design and
form are separate to these developments, but in reality
the lay-out of a practical working piece of ground will
need very careful study. In no sense is it to be despised,
for herein, in the profitable yield, lies the real " glory of
the Garden/'

PUBLIC GARDENS

HEINE compares France to a garden where all the
most beautiful flowers have been gathered and
woven into a garland. " The name of this flower
wreath is Paris," he says. This description of the gay and
buoyant city is vivid ; as is also his term of veneration
for our own wonderful London, with its smoke-begrimed
"inniger Schmutz," of which he was able to appreciate
the depth and quality !

Certain it is that the people's parks and gardens in
both great cities form a very considerable proportion of
their beauty. How different in composition and arrange-
ment is the style of each ! It would indeed be difficult
for an unbiassed mind to point out accurately where
superiority lies. We English cannot own that French
public parks and gardens are better than ours, because
the requirements in the two countries are totally different.
We are a people that make games and sport our chief
consideration. Therefore open spaces and playgrounds
are the essential point with us. The French, upon the
other hand, are more sociable. Their recreations centre
round arbours where "maman" and " bonne maman J>

222

PUBLIC GARDENS 223

can sit and knit; "bosquets" where "grandpapa"
smokes a cigar and reads Le Petit Journal undisturbed by
feminine talk ; and shadow alleys where Louise, resplen-
dent in big cap and long scarlet ribbons, soothes Alphonse
as he lies, a white bundle of lace longclothes, asleep in
her arms. Then, too, there are "rond points/' where a
band plays, and all the gay city world comes out to wear
smart clothes, to talk, and sometimes to listen to the
music.

Perhaps the French can learn somewhat from us about
artistic groups of trees. All old-fashioned spot-and-dot
planting is now superseded by natural groups of the right
kinds commingled. As we drive or walk some spring
morning round the outskirts of one of the London parks,
we seem to be right amongst early flowering magnolias,
daphnes, and pink ribes. Can any other country boast
such pink may ? Upon undulating ground we see the
well-shaped trees ready to carry on colour when others
wane, while beneath, bold groups of irises, daffodils, and
other bulbs convert grass into a flowery mead. We
watch the gardeners as they throw the bulbs broadcast,
before the holes are made with dibblers in the earth, and
thus the flowers when they appear look as much at home
as the primroses and bluebells that multiply themselves,
unaided by man, in our woods. All this is happy,
natural, in its right place, it seems. What ideas a visit to
Hampton Court gives ! WTe come from there having in
mind a wonderful cloth-of-gold broidery effect, when we
have seen the long border ablaze with red and golden
tulips and bright yellow broom. The tapestry bed of
brown wallflowers, yellow-bronze tulips, and just that
light touch of long-stemmed white tulips tipped with
dainty pink — how it remains with us on our homeward
journey ! Can any fancy be more lasting than the
pleasant recollection which it leaves behind ?

224 GARDENS : THEIR FORM AND DESIGN

Most certainly there is much that we are really proud
of in our parks and gardens. Yet this should not allow us
to close our eyes to the ideal ones of the future, where we
hope to see, added to our own true natural planting, rather
more of definite planning. May it not almost be called
town as well as garden planning ? For both should of
necessity be moulded together. With careful study of
success in other capitals, and especially in Paris, we should
achieve somewhat more of good design and incident.

In Battersea Park already there are signs of steady
awakening towards a development of garden design.
Interest centres not in plants and shrubs alone ; the idle
visitor finds a coloured map at each entrance, which
directs him to various points of interest. There is the
pretty aviary, the " rond point " where music plays, the
lake with the summer-houses near by. Most delightful
of all, however, is the new "treillage" garden, not far
from the river.

Here is the dawn of what will, if further encouraged,
complete the picture of our public parks and gardens.

Until recently, bearing in mind games and sports, they
consisted chiefly of wide open stretches of grass, ugly
black iron hurdles, paths that crossed and recrossed over
a plain exposed to violent blasts from March winds.
Boys and girls were happy, it is true, playing tip-and-run
or cricket ; but where could a grown-up Londoner find
repose ? The man or woman not bent upon games, but
with a wish for change of scene or fresh ideas, found
but little of interest to explore in the undefined and
straggling shrubberies. These formed the boundaries of
the long-grassed, wind-swept plain. Now, in the quiet
little Battersea treillage garden, there are many snug
corners where an invalid can sit. Shadowed bowers
are here, where with a friend, or with a book, he who
longs for country air and rest may make believe the garden

PUBLIC GARDENS 225

is his own. Then, too, in the sheltered nooks of arbours
it is possible to find permanent homes for climbers and
plants that do not like to be disturbed. Rare plants of
botanic interest can be grown without fear of their being
mislaid, as so often happens in a mixed border. Colour-
combinations, too, are enhanced where there is a slightly
architectural or formal background. We thus gain
somewhat of that intimate, personal touch which we
who possibly are over- fastidious miss at times in public
gardens. Then, too, we sometimes wish there were more
small gardens such as the one near Cheyne Walk, where
that lifelike statue of Carlyle sits resting, yet thinking, as
he gazes upon the river he knew so well. Statues should,
where possible, have a background of green foliage, and
there should be some quiet corner near-by where those
who understand hero-worship may sit and contemplate
the man. All this we find in the small Chelsea garden,
and we value it therefore above larger and grander ones.

In Paris we are astonished at the simplicity of small
gardens, the art that is shown in converting waste ground
into beauty and symmetry. We recall a small sunk grass-
plot, where an oblong-shaped basin for a fountain is in
the centre. A raised border of gay flowers forms the
boundary of the garden, but to make this look neat and
well kept, both in summer and winter, an edging of thick
ivy surrounds it To gain more effect the edging is planted
so that it slopes up towards the border.

It is, however, in the gardens of Bagatelle, in the centre
of the Bois de Boulogne, that the acme of original and
artistic arrangement is reached. There is a feeling of
being in a private garden, where small surprises have
been planned and all has been thought out by one mind.
It is a garden of roses. In our dense, smoke-laden
London atmosphere these flowers could not be
successfully grown ; but the arrangement of the flower-

15

226 GARDENS: THEIR FORM AND DESIGN

beds might well be taken as a model, and in the place
of roses some beautiful flowering shrubs would look
equally well. Each year, in the beds by the railings of
Park Lane, we watch with admiration the carefully
thought out colour effects, the skill with which plants are
grown on and planted out at the exact moment when
others begin to pale. The only regret is that so much
that is beautiful should not have a more jewel-like setting.
We long for more organized design, so that this wealth
of colour and bloom could be transported to well-laid-out
beds, which would form one beautiful picture-garden,
such as Bagatelle.

We will endeavour to describe as best we can our im-
pression of what has there been so admirably carried out.

A garden full of dignity is a long grass-walk about
thirty feet wide, broken only in the centre by a dark
statue. Upon either side are great, tall pedestals of iron,
about fifteen or more feet high, and between each of these
are five weeping rose-trees, such as Moschata, Banksian,
Anemone rose, and Wichuriana. Dwarf hybrid teas
are beneath and around them. Against the iron pedestals
are hybrid teas, such as Gaston Chardon, Else Beauville,
Bouquet d'Or, etc. The weeping trees are about half the
height of the others, so that three different levels of
flowers are obtained. In England we seldom get enough
variety in height, for we are apt to make beds with one
tall group alone in the centre and dwarf roses surrounding
it. Diversity of height relieves from monotony as much
as having different flowers or colours.

A beautiful termination to this grass avenue between
rose-trees is a semicircle of turf, and in it about twenty
small round beds containing Polyantha dwarf roses.
Leading from this half-crescent are paths outlined by thick
wooden posts about 3 feet 6 inches tall, bearing tightly
strained iron chains from one to the other. Roses such

PUBLIC GARDENS 227

as Beaute d'Europe, Th. S. Nabonnaud, and Noella
Nabonnaud, are on these, and to make them take kindly
to the chains some rope is twisted round. As we walk
on, the 3 feet 6 inches high posts gradually get taller until
they reach 6 feet, and then they form a circle. This time
wire is strained from one to the other, and cord is twined

FIG. 124.

A, Statue; B, Avenue of weeping'roses ; C, Half circle of turf with rounds of
roses; D, Six-foot high posts; Et Path; F, Fourteen-foot high trees;
G, Twenty-foot high pergola.

round it to save the plant from sudden changes of
temperature. Upon these are Gloire de Dijon roses.
Beyond this circular path are taller uprights. They
consist of tree-trunks 14 feet high with cross-bars of wood
stretching along the centre of each, and wire forming a
festoon at the top.

228 GARDENS : THEIR FORM AND DESIGN

Then we come again to yet taller uprights, some 1 5 feet
high, forming a splendid pergola across the final circular
path, which ends this charming garden. This time, in
the place of chains joining the posts, are cross-battens
of wood, which form a square-mesh treillage. The
important note in the whole garden is the charm of
height, first in the shape of the iron pedestals which lead
to the circular walks, and then the varying degrees
of height which gradually ascend until the final strong
and important shadowy pergola is reached !

There is much that can be copied from this garden,
and much that has never yet been sufficiently studied in
our English gardens. We are so apt to make our arches
and pedestals too stumpy (Fig 124).

In another part of the same lovely garden there is a
long and rather narrow space to show off various kinds of
roses. The whole is enclosed by box-edging, which is
neatly clipped so as to be highest on the inside of the
ground. Alternate long and circular rose-beds are here,
some of them springing out of the turf

To add to the botanical as well as the commercial
interest of the gardens, each plant has an ivory label,
upon which the name and variety of the rose is put,
and also the name and address of the grower. For

instance :

" MRS. E. TOWNSHEND.

Tea, shell pink.
From Guillot of Lyon."

The clematis arches in a further surprise garden are

impressive, for they are about fourteen feet high and arch

1 over a path between six and seven feet wide. Amongst

the best flowers are Modesta (blue) ; William Kennet

(blue) ; Ville de Lyon ; Mr. Hope (blue).

Thus we leave this enchanting garden bearing with us
a feeling that there is something personal, individual,

PUBLIC GARDENS 229

which has touched us in it — that one mind has composed
it. A visit which leaves the same impression is to
the Botanic Garden belonging to Trinity College,
Dublin. We have here, too, the happy feeling of " un
jardin intime." In spite of its being arranged primarily
for the instruction of a vast number of students, yet there
are signs everywhere that a man of great botanical
knowledge and refined taste has devoted himself to its
improvement. The garden is full of quaint surprises.
Although each plant has a large label, we really often
lose sight of its being a place for serious study, because of
the natural and original arrangement. Under all the
trees are masses of hellebore in every shade of pink,
green, and white. The herbaceous borders beneath very
high walls are broken up into irregular groups by large
masses of yuccas, aloes, and semi-tropical plants. These
give protection to the less rare flowers that grow in
open spaces between. We forget completely the usual
botanic garden of single specimens, and can almost trans-
port ourselves in imagination to a Riviera garden. All
the borders are wide, and large bushes or tall plants are
allowed to run out into the foreground here and there,
which breaks up the continuous line of plants of the
same height, which we notice beginners sometimes err
by maintaining. Colour effect is likewise gained by
having varied greens of bushes and trees between the gay
flowers.

In planning colour effects for a public park, where
pleasure has to be given to a large number of people,
possessed of varied tastes and multifarious likes and
dislikes, it usually is necessary to resort to a considerable
amount of bedding-out, in preference to the natural
herbaceous border above alluded to. Things like
Canterbury bells, simple as they are, require then to be
brought on in pots, so that, when they are wanted to fill

230 GARDENS: THEIR FORM AND DESIGN

a gap in the border, they can easily be dropped into a well-
prepared bed. This system, although it lends itself to the
upkeep of a place being always at its best, necessarily
takes away from the permanent and the personal touch
we all love so well. The people require colour and
brilliancy ; therefore much has to be sacrificed to keep
flower-beds always at their best. Perhaps this is the
reason why in long herbaceous borders, such as those that
were formerly at Hampton Court, there seems a want of
restful greens, interspersed amongst vivid colour. Then,
too, although well-grown delphiniums and other flowers
are boldly massed, they sometimes are too squarely
blocked and made to look like regimental lines. The
small touches we love in private gardens, where plants
are grouped, not for colour alone, but because their leaves,
too, go well together, are more difficult to achieve in
public gardens.

The many difficulties which have to be overcome make
us, perhaps, value all the more what the Superintendent of
London parks accomplishes so ably year by year. How
wonderful his work is when we reflect that it requires
little less than a fortnight to visit critically the gardens
that come under his office. He plans and provides for all
parks and gardens, post offices, museums, and public
buildings in London. The King's garden and Osborne
House are also maintained in perfect order and beauty
under his direction. Probably few of those who enjoy
the glory of the lovely flower-borders are aware of the
heavy work entailed in designing colour effects for
hundreds of beds. They do not think of the labour there
is in supervising so large a body of workmen. Then,
again, attention to the requirements of all flowering
shrubs, correct pruning of the much discussed trees in the
Mall and many others, the care of turf and paths, these

PUBLIC GARDENS 231

things alone, quite apart from artistic design, mean many
arduous hours of thought.

A further difficulty is the impure air of London. This
necessitates all bedding plants being kept the whole
winter at Richmond. In April and May, carts heavily
laden with boxes of young plants are to be seen arriving
in Hyde Park after their long road journey from the
suburbs. The same carts wait, and take back plants
which have spent some time in London, and are conse-
quently in need of change of air. Heliotrope and
delphiniums are especially susceptible, the leaves of the
former being subject to a horrid blotch, after which they
wither and fall off. Even wallflowers are grown at
Richmond and brought to London when the time comes
to plant them out.

Some few plants do not mind fogs and an atmosphere
laden with smoke, but it is interesting to learn that a differ-
ence has been noticed between their health if kept at Ken-
sington as compared with Hyde Park, where they show
signs of being more exposed to these evils. Liliums, both
candidum and auratum, can be kept in pots in London
nurseries if plunged in ashes in the shade between
the glass-houses. Cannas, too, can be kept under the
pipes.

It is, however, no child's play to garden well in London
air, compared with the purer, more sun-warmed air of
France. The feeling uppermost in mind, as we come
from French ornamental gardens, is one of size and large
proportions. There is nothing small or paltry, squat or
low. The approach to houses such as Chantilly is on a
magnificent scale. All are stately and in keeping with
fine architecture. There is indeed much to be learnt
from the gardens of Chantilly, and from the Rosery at
Bagatelle. The former represents successful achievement
of good proportion, without having resource to much

232 GARDENS: THEIR FORM AND DESIGN

plant life. It is made beautiful with material close at
hand, by vistas full of meaning cut through the fine woods,
by natural dignity of treatment with regard to the lie of
the land. We find here water and statuary alike utilized
to add to the beauty of the cup-like basin. The three
distinctly varying heights of ground around the lovely
chateau have been studied, considered by a master mind
in design ; and the avenues, approaches, and terraces
seem to culminate in that one dark warlike figure near
the house, the Grand Conde. We can almost hear the
tramp of armies, as by moonlight the wide openings in the
many woods all lead to that one strong figure. This,
without help of flowers or colour, is indeed a garden to
give food for contemplation to the thinking mind.

Our second French garden, Bagatelle, shows the com-
bination of the successful growing of fine plants with good
taste in garden design. In all the public gardens of Paris,
however, in boulevards and streets, everywhere is breadth
and width and height. Statues against green leaves are
made more use of than with us, for ours stand often in
isolated positions in our streets. Surely the way to give
some life to marble is to have the light and shadow
flicker cast by trees upon it ? A dark background, too,
shows off the grace of line and figure. All these points,
which collectively form a brilliant whole, we see in
France, and as we all learn their true value, there is no
doubt that we shall copy them more and more in our own
country. Stately avenues for royal pageants, good sites
for statues, archways with true meaning, graceful fountains,
temples, arbours, vistas leading to these incidents, are
what we look for in the public garden of the future.
Such comparisons may seem trivial, but without doubt the
cultivation of good taste in a great people is to be learnt
upon the half-holiday spent in the public parks and
gardens.

FALIAN VINEYARDS

WHAT WE LEARN FROM THEM AND CAN ADAPT FOR
ENGLISH GARDENS

THE more countries and gardens we visit, the greater
impression do we obtain of that vast study, " the lie
of the land," so all-absorbing to a landscape
gardener. It is to be regretted that garden design, a
refined and cultivated art, has no more pleasing
nomenclature than that of " landscape gardener " for the
man who makes it his profession. Surely " garden
craft " is descriptive, and " garden craftsman " inspires
confidence.

To many, the words " landscape gardener " bring
unconsciously recollections of the destructive tendencies
of Capability Brown. We see the stately yew-walks,
pleached alleys, lime-tree avenues — in short, the charming
fancies of the Elizabethan Age, the somewhat formal yet
happy imaginings of Lord Bacon, swept ruthlessly away
by this relentless man, the landscape gardener.

He, like the marine painter, attempts something beyond
the power of most men. Only by close study of Nature,
watchful of her change of phase and mood, can he hope
to copy with any degree of success what is beautiful in

233

234 GARDENS: THEIR FORM AND DESIGN

her. He must, above all, be humble and capable of
learning the lessons taught by hedgerow, nut-grove, open
common and hillside. Intimate knowledge and love ot
wild-life, study of the rounded shapes of downs, with
their winding, deeply cut chalk roads, observation of
natural groups of trees, all these things help to mould the
garden craftsman.

By judicious treatment, how much can be done to bring
out beauties upon a garden site, which before were not
perceived. There is no piece of ground impossible to
handle. Whether the case is one of restriction by over-
shadowing, of food-robbing, of too large trees, of insuffi-
cient drainage, or of exposure to the buffeting of cold and
boisterous winds— whatever the evil may be, there is
a sure way to overcome it. Does the sun scorch down
upon a glaring chalk-slope ? Is the fall of ground below
the house unevenly balanced, thus giving an insecure
appearance to the building itself ? Whatever the trouble
is, however apparently insurmountable, the back of it
can be broken. Move soil skilfully, bank up and plant,
and all will be rectified.

Should there be a thick, dense wood upon a flat plain,
without distant view or varied outlook, incidents must be
made, alleys planted, statues or garden-houses erected to
carry the eye to the end of the vistas. Interest and
variety are thus created ; dullness and monotony vanish.
In all this Nature is the first teacher.

Many are often deterred from overcoming the various
difficulties by a dread of incurring expense. They see in
imagination a long bill from an architect landscape-
gardener, they fear the possible invasion of builders with
the necessary evils and untidiness of bricks and mortar —
above all, they dread the austere face of Spud the
gardener, who resents all innovation. It is his opinion
that the garden should remain the same in all details as it

ITALIAN VINEYARDS 235

has been since the early i85o's, when his father held
office before him as keeper of the privy garden. Is it
worth while contending with his sullen mood ? Will the
alterations lead to greater expense in the upkeep of the
garden ? Most surely these questions have first to be
answered. In order to do so, let us study well the natural
gardens, the hillsides, the wooded slopes, the roadside
hedges, even the excavated chalk pits, which may help us
to meet the special requirements of the case. Should it be
necessary, let us not limit inquiries to our own country,
but, bearing our needs in mind, let us go farther afield to
foreign lands and see how they can assist us.

As we emerge from the darkness of Mont Cenis tunnel
and wind down that wonderful valley which seems like
fairyland, so luxuriant and fruitful does it appear, we leave
the prosaic countries of France and Switzerland behind
and reach the summit of ambition, that lovely garden-land
of pergolas and vineyards. What a charm there is about
it ! Our admiration is not alone for deep blue sky,
sparkling sunlight, magnificent outline of distant hills,
restful colouring of grey olives, dark green pines, luxuriant
vine-growth, groups of stately Cypress-trees. All this is
beautiful : but the marvellous industry that is everywhere
evident, the power, undaunted perseverance, and ceaseless
work of the people, are equally impressive. How each
mountain- side is terraced to retain all the moisture
possible, each small plateau of rich dark red earth retained
by skilfully erected stone banks and walls, each portion
of the ground carpeted with vegetables, fruit, or flowers.
What ingenious devices have to be resorted to in these
mountain gardens for carrying soil, manure, and water on
a hillside where the homely English wheelbarrow is unsuit-
able and unknown. These are the personal qualities of the
people that call forth admiration. Then, too, the ingenuity
with which solid supports are placed for the vines, arranged

236 GARDENS: THEIR FORM AND DESIGN

not only with a view to withstanding the severe test of
gales, the violence of which is almost unknown even in
our bleak country, but also that adequate shade may be
had when the strong midday sun pours down with full
force.

Nature, it is true, helps beautify with a luxuriance of
growth which we in our country, even in the best aspects,
can hardly hope to achieve. At the same time, there is
much that a prolonged study of an Italian vineyard or
hillside can give us for our Northern gardens.

Let us suppose, for instance, a bare chalk-slope in one
of the southern counties of England, the house so placed
that it lies above the garden, looking down upon it
towards the sun. No trees or vegetation of any kind can
exist when it is taken in hand, the soil is poor, any
moisture there is runs speedily away to the bottom of the
hill. We roughly sketch out upon paper the necessarily
formal surroundings of the house, the general require-
ments as regards main roads and paths of access to the
garden, the suitable positions for good displays of
herbaceous plants. What will the next consideration be ?
Like the Italians, we must endeavour to gain shade and
moisture and to improve the soil. A sad depression is apt
to overcome even the most sanguine in looking down upon
the bare earth, stretching in all its poor white chalkiness
below. We almost wish the garden were on flat ground,
for such deficiency of green vegetables would not then be
so evident. How, too, can we overcome the violent
assaults of that teasing and sometimes punishing south-
west wind ? That is another serious problem to face.

An Italian hillside is cut up into small terraces, each
twenty or thirty feet long and sometimes half the breadth.
The terraces are seldom in regular lines, for they are hewn
and dovetailed in to follow the natural line of the hill.
Each is placed so as to obtain a maximum of sunshine.

ITALIAN VINEYARDS

237

A sort of sloping amphitheatre is often the result, and the
curves inwards and outwards shelter from north and east.
The ground is so steep that careful thought is given to
having adjacent three-feet-wide grass paths, along which
supplies of manure and water can be carried, because the
use of any conveyance upon wheels is impracticable. All

ITALIAN HILLSIDE
TERRACED

FIG. 125.

stones upon the land (and there are many) are skilfully
laid one on top of another to form supporting banks or
sheltering walls for, the terraces (Fig. 125).

The main object of this style of gardening is to obtain
shelter and retain moisture with very little expense.
Rain water, that most precious liquid for growing plants,
cannot run so easily away to a lower level of ground if
there are terraces, walls, and pergolas to delay its course.

238 GARDENS: THEIR FORM AND DESIGN

Each terrace has bush apple-trees, olives, willows, thorns,
interspersed at intervals, giving a lovely effect of grey-
green, light green, gold and pale pink, high above ground.
Beneath are grown crops of vegetables, and strawberries
or flowers, so that the ground is carpeted with green and
colour too.

Upon each terrace, either arranged against the stone
walls or banks or supported by willows and larger trees,
are lines of vines. Many are the different ways of
training these, as will be seen by the sketches shown.
All these ideas can be made serviceable to us in England
for training other creepers, should the garden be in our
cold Midlands, and vines themselves, therefore, out of
the question. As we have now under consideration,
however, a garden in the South of England, there is no
reason why all the trees and plants we have mentioned
should not be successfully grown, with one exception,
that of the olive-tree. Add to the list such creepers as
loganberries, clematis, lonicera, pyrus japonica, jasmines,
passion-flowers, polygonum, and more variety is gained.
Tender plants and vines may be planted facing south
against a sheltering wall or bank, the hardier kinds can
be trained upon tripods between the trees, and as they
grow side-shoots are carried in festoons to neighbouring
branches. Thus that graceful effect of trees dancing
hand in hand in circles and rings, which delights us
so in Italian vineyards, is possible to realise with us.

We must first carefully level the chalk terraces. Then
we excavate two feet or more of the poorest soil, where it
is intended to plant special creepers and trees. Into this
we put the top spit, well rotted, of some better soil, and
add to it good farm and stable manure, and plants are
then bound to thrive. Shelter obtained by walls and
banks to the north and east, warm sun-rays, good top
dressings of manure in autumn, will help establish. The

ITALIAN VINEYARDS 239

carpet under the trees is even more easily accomplished
than the tree and creeper planting, for here either
vegetables will grow, such as carrots, globe artichokes,
and the homely cabbage, or there may be a flower-garden
orchard and no more. Cover the ground with bold,
irregular groups of myosotis, yellow alyssum, mauve and
blue aubrietia, periwinkle, stachys, cerastium, pansies ;
put in between plenty of narcissus, tulips, and Spanish
irises. Have sheets of other irises, bold groups of
Michaelmas daisies and helianthus for autumn, and so
endeavour to cover all the earth with green. From these
many flowers we obtain colour at different seasons. Not
only will this look well and hide the bare earth, but these
strong plants will join together and leave no room for
weeds, and an occasional hoeing and the regular picking
of flowers are all that will be necessary.

It may be suggested that excavating these terraces,
adding good soil, and banking up the rough stone walls is
a costly business. It will certainly be found advisable in
a chalk district to call in the help of three or four strong
chalk-pit workers for some weeks ; but, if directions are
clearly given to them and they become interested in the
work, it will be very quickly and satisfactorily completed.
Spud, the gardener, will only take things again under his
command when the terraces are finished and planting has
to be done.

Other work for the chalk-pit men will be to put up
pergolas for shade where the grass walks are, and to
erect arbours or loggias for the many creepers to romp
over. A large number of tall rounded or square posts
are easily obtained. When their ends are tarred, put them
two feet deep in the ground, and around them ram in hard
any big stones that are to be had. For cross pieces, bean-
sticks may be used ; or creosoted square-mesh wooden
trellis will give a neat appearance.

240 GARDENS : THEIR FORM AND DESIGN

By studying Italian pergolas and making rough
sketches of them, all sorts of original effects may be
achieved ; and shade too may be obtained, at all events
some degree of shade, until the trees have had time to
grow up. Should inexpensive steps be required for
gaining access to different levels, railway sleepers are by no
means unsightly. They may be embedded in good soil,
and little choice rock-plants will find a happy home in the
chinks. This idea of an Italian vineyard is by no means
to be taken as a representation of a private garden in
Italy, where architectural features, stone steps, beautiful
fountains, and balustrades involve great expense at the
outset. It is a mere suggestion to be worked at by the
amateur, who will find amusement in it, and, should he
wish it, he may obtain profit by growing paying crops
beneath the trees. An example of such a garden, hewn
out of chalk, and some twelve years old only, has been
described in my book " In a College Garden." When
first commenced it had no trees or vegetation, for it had
been used as a corn-field ; and the old name of Ragged
Lands, which for the sake of association is retained, proves
that it was not then a lovely garden.

We will now set forth a few examples to illustrate how
each small terrace can have an original style of its own.
Vines in Italy are planted at intervals of two feet apart
and are usually trained straight upright, without any
espalier to hold them until about five or six feet above the
ground. Then they have the support of a stout branch
from a chestnut, or sometimes a mulberry or willow tree.
These trees are usually planted in their midst, and their
branches, running out horizontally, form good espaliers
for the vines. The trees to which the vines are trained
go by the descriptive name of " Tuteurs " (Fig. 126).

The bark of the chestnut and that of the vine are
almost similar in colour, and when the young chestnut

ITALIAN VINEYARDS

241

leaves come out, as they do before the vine-leaves, they
almost give an impression that the whole tree is a vine,
a great big one, growing up free of support, but having

at its side baby
espalier vines.

Near Empoli,
we notice vines
grown more as
standards. They
are still planted
against a tree as
"Tuteur," such
as a chestnut or
FIG. 126. apple-tree. This

supporting tree is

usually pollarded. Several vines, however, are planted
round it. The roots of this group of vines are in many
instances planted some distance away from the stem of
the tree (Fig. 127). Another delightful way of training
them is to plant them
as shown, against a
"tuteur" which is pol-
larded, and then to
carry the vine-canes in
wreaths from tree to
tree in one or two fes-
toons, or in an arrange-
ment of vine-garlands,
when the side-shoots are
fastened to sticks and
pegged to the ground.

How effective, too, would be something like this — to
have apple-trees, or, if you prefer it, purely ornamental
trees like thorns or willows, planted some twenty feet
apart, and between these upon a line of stakes, as shown

16

242 GARDENS : THEIR FORM AND DESIGN

to plant climbers such as vines, passion flower, clematis,
and hops. In Lombardy, as well as having these
garlands trained from tree to tree, they have sometimes a
thick piece of stick or bough secured at right angles to
the trunk of the " tuteur " which supports the vine. Thus,
an effect like Fig. 126 is obtained, which is rather interest-
ing. Another way is to have a big tree at .A, and plant
low-growing vines at C, and then train them to sticks four
feet high, either in a circle or any other way, but to keep
them low and near the ground, and then guide them to A.

FIG. 128.

They look well near the ground and it needs less growth,
so that this would be quicker in England than growing
them to climb high up a tree (Fig. 128).

In Northern Italy the " tuteurs " are sometimes
willow-trees ; but more often mulberries are used for the
purpose, as they are planted for the silk-worms. By the
middle of June their leaves have all been eaten off, and
then the vines take entire possession of the bare
branches.

In some sheltered parts along the South of England
we could obtain very effective resemblance to Italian
hillside gardens. We should plant one central tree, say
a red cardinal willow or a pink thorn, and in a wide

ITALIAN VINEYARDS 243

circle round it plant other similar trees, allowing plenty
of space between. If variety is needed, then there can
be favourites such as ilexes, lilacs, chestnuts, or Lombardy
poplars. Between each tree are creepers upon tall
uprights, for which we can choose that lovely rose
" Tausendschon," hops, the Clematis montana (or others),
and loganberries. All these, if trained from one large
tree to another, form a dancing ring round the central one.
In Italy, we have often seen a triangular or irregularly
shaped terrace made beautiful by having standard fruit-
trees in the centre and an espalier of vines surrounding
them, marking out the limits of the terrace.

It looks almost as if small children were holding hands
as they laughingly dance round tall people. Much
shadow can thus be obtained over an exposed piece of
ground, imparted by these outstretched arms.

As our dream-thoughts float to the clear, deep blue sky
of Italy, we are reminded of two shades of green that go
with it to make the picture complete. We see before us
the grey-green of olive-trees, emblems of peace. When
war occurs and devastation follows upon it, these very
slow-growing trees do not reach maturity ; but when left in
peace, they flourish for many hundred years, and there is
about the colour of their foliage a restfulness which would
seem to soothe and bring quiet to the most overwrought
nerves. Then as we think of that lovable land, we see,
too, the bright green rye-grass beneath the trees,
which reminds us of Fra Angelico's representation of
Paradise. It is a steep hillside. Upon a carpet of
bright green, in which are also gay-coloured flowers, an
avenue of olive-trees opens towards a circle formed of
chestnuts, pines, and apple-trees all bright with fruit.
Saints and angels, their haloes gleaming, clad in many-
hued rainbow robes, with golden wings, form a circle, too,
amongst the trees. They all hold hands, and we can

244 GARDENS : THEIR FORM AND DESIGN

almost feel the rhythmic measure with which they pass
across the flowery mead. Would that our garden crafts-
men had acquired the power of true representation, of
lifelike reproduction, which the artist monk attained ! Do
we not feel that years of quiet study and contemplation of
the real hillside must be the true source of his success ?
We who deal with garden design do not paint pictures
upon canvas to hang upon walls, we have living materials
with which to paint our pictures, and therefore it should
be easier for us than it was for Fra Angelico to produce
in a garden what we have seen upon the natural hillside.

How then can we in England, where, alas ! the dear
olive does not grow, obtain a grey-green that will in a
measure bear the same quiet colour as that tree of many
myths ? Men say it grew upon Adam's grave, whence
came the branch taken by the dove to the ark. From it,
too, came the wood of our Lord's cross. For this reason,
in the South it is supposed that a branch of olive will
keep away witches, and therefore in Italy we often see a
branch or twig in the centre of a newly sown field. Mules
and horses carry a piece of it in their harness, and a
fisherman's boat will breast any storm at sea if a spray of
olive is on board. In Lombardy, upon Palm Sunday,
olive-leaves are blessed and thrown upon the fire to
preserve the crops from lightning.

We Northerners can only fondly call to remembrance
these treasured tales, our imagination alone can recall
the silver-grey shimmer, the tremor and soft rustle of the
leaves. Our nearest make-believe tree that will, in a
measure, take the olive's place is the ilex. It can be
planted in numbers upon our terraces, and the bright
green sword-like leaves of the iris beneath will give some
of the glorious effects of rye-grass of which Fra Angelico
has made a carpet for his Saints.

PLANTED TO LOOK LIKE THE NATURAL HILLSIDE.

TH ERE is no doubt that we learn from our own many
mistakes, also sometimes from those which others
have made. As we call to mind what should not be
devised in the way of garden design, our thoughts go to a
type of house and garden often met with, which teaches
a lesson that should be impressed upon all who own
gardens — the lesson that the advice and help of the expert,
a master of design, is to be sought when a place is
first laid out. Our mind-picture in this case represents
a square, glaring white, early-Victorian house, which in all
probability has a grey slate roof — but, whatever be the
colour or material, the shape is flat and unsightly.
Unfortunately, the building stands upon the highest part
of garden ground and is therefore painfully conspicuous.
The garden should be lovely, for everything that
money can obtain is lavished upon it. The essential
thing, however, it lacks, a thing that cannot be bought, and
that is a connected idea of arrangement ; for even a novice
becomes quickly aware that it has been badly laid out.

245

246 GARDENS: THEIR FORM AND DESIGN

In the distance are beautiful views of soft rounded hills,
across which changing shadows float. But near the
house there is no simplicity of design, and consequently
restfulness is wanting. It is just a patchwork, where
people have said: "This corner will do for a trellis
archway ; we must have a pergola too, so let us put it
over there."

Upon reflection, there is no good reason for either of
these features being in the places allotted to them. The
pergola leads to a stubble-field, the archway opens on to
an ugly-shaped circular sweep of gravel drive and stands
up solitary and meaningless, free of any supporting hedge
or fence.

The first essential with such a place is to endeavour to
hide or soften the harsh whiteness of the ugly house by
growing pretty graceful creepers up it. Then, well-
thought-out groups of flowering shrubs can be arranged to
break, in a measure, the monotonous stretch of square wall.
Lilacs, hollies, buddleia, all will help. The circular drive
and winding, irresponsible walks, which lead to nowhere
special but deviate as much as they can, must give place
to more purposeful, direct ones. In short, near the house,
the style will be formal, the beds and general lines will
follow in harmony the lines of the house. We cannot pull
the ugly building down and put a fine one in its place ;
therefore the garden craftsman has to do his best to soften
its defects.

The rose-garden, arranged in the clearing of a wood,
with a wide central grass-walk leading down the hill, is
perhaps the dawn of some better inspiration. It fails
because there is no definite object at the end, and only a
wayside quick-hedge and then the high-road terminate it.
The greatest evil, though, is a newly made bank which
outlines the lawn- tennis ground. It is planted with
different varieties of berberis, and the soil beneath them,

TREES AND SHRUBS 247

a horrid untempting-looking clay, is left bare. The poor
little berberis shrubs have swaying tin plates tied as labels
to iron uprights, which make us think of a botanic garden.
Fifty different varieties are crowded together, without
meaning, much as one sees twigs stuck into a child's
garden.

The greatest master of tree-planting in modern times
tells us to arrange together groups consisting of two or
three varieties of trees. From personal observation, too,
of wood and hillside, we know that good effect is only
achieved by a few kinds grouped together in restful
repetition. We tire sadly at sight of this one family of
berberis, and long for a free hand and permission to
rearrange the whole. Why not have had a group of
hollies or ilex, some lilacs, olearias, and a few berberis ?
Variety, in short, is needed in so extensive a plantation
Then, too, low-growing St. John's wort, ivy, Solomon's
seal, foxgloves, mulleins, violets, anything to carpet the
ground, would be of interest, as well as helpful to retain
moisture and to keep down weeds. Rosemary and broom
interspersed amongst taller bushes, with bulbs coming up
between, would also be of assistance.

It is after some hours spent in such disturbing
surroundings that the question arises : How can people
best learn about tree and shrub planting ? Is the subject,
then, so difficult ? Why is it so often badly done ?
Perhaps many do not use their own observation, or have
not been shown how to be watchful.

The speediest lesson is a long journey, with the
incentive to note each good colour-effect, every happy
combination of tree and plant upon changing hill and
plain. If time and money have to be considered, a
student of this subject would be well repaid by taking a
cheap Polytechnic tour, so as to pass through many
countries in a few days. Without necessarily getting out

248 GARDENS: THEIR FORM AND DESIGN

of the railway carriage, a long list of happy natural effects
can thus be noticed. This, of course, is a short cut, a
somewhat unromantic means to an end ; for quiet days
of exploration in woods and fields, of peaceful intercourse
with Nature, are the real and lasting lessons. Those
who wish to prepare for such observations should read the
chapter entitled " Flowering Trees and Shrubs and their
Artistic Use" in W. Robinson's " English Flower-
Gardens."

Let us briefly pass in review a few notes made during
rapid journeys through France and Italy. Between
Dieppe and Paris, with all the excitement and delight
consequent upon arrival in a new land, have we not often
seen the masses of juniper and broom ? Beneath them,
tall green hellebores give relief from the whiteness of the
chalk soil. Then near Amiens and Beauvais are large
groups of juniper between the narrow-cut terraces which
allow of cultivation upon the steep hillside, and with them
upon the banks are masses of Primus, which has white
blossom in April and red-bronze foliage later in the year.
These, together with the light foliage of acacias, form a
very delightful colour combination.

Near Etaples the bushes of Hippophce rhamnoides
(which sounds less formidable under its name of sea-
buckthorn), with their orange berries, remind us that this
shrub should be more largely planted in our south-coast
gardens. The woods, too, in the North of France are
full of a Salix repens, a bush with a dark green
appearance and a shiny leaf, somewhat resembling box.
A quantity of mistletoe upon the poplar-trees suggests a
profitable, and at the same time harmless, way of grow-
ing it, which is preferable to weakening the strength of
apple-trees.

As we speed on near Paris, silver-stemmed birches,
elegant and graceful, spring from an undergrowth of

TREES AND SHRUBS 249

brown beech, the dark green of Austrian pines giving
occasional depth of colour and strength to the whole.
How doubly beautiful it is when pale primroses are
beneath ! But the tall green hellebore seems the most
usual carpet in spring until after we pass Modena. Here
the hills are clothed with bushes of box, and although the
soil between them looks hard and white and in places
chalky, the deep green of the shrubs and the great
gleaming pale yellow masses of primroses help us to
overlook that.

Then in the fresh early morning air what a change
comes after Mont Cenis ! We are in the land of pergolas
and vineyards at last, though not yet awake in April as
we pass. For now the vines are merely ugly black knotted
stems, and there is comparatively little green foliage
to give life to the picture. The two chief colours are the
deep blue of the sky and rich, strong red of the earth.
Everywhere are upright posts and bits of wood, which
later will be clothed with vines ; and this gives a some-
what dreary, desolate, broken-stick appearance, that is
apt to bring disappointment in the first months of the
year. But as we get still farther south, either in the
direction of those great stretches of long-stemmed, queer-
topped, cork-trees of Spain, or towards the almost
tropically luxuriant palms near Genoa, the world seems an
entranced one, so much does it differ from our own trim,
bright green, hedged-in land.

We need to be continually observant of all, notebook
in hand. Whether it be the thickly planted euonymus,
close-clipped, below the ilex-trees in the formal Aquesole
Gardens, or the great big camelias out of doors, growing
near the ilexes of the Villa Docci — all is familiar, and yet
in new natural surroundings, giving fresh inspiration.
The blue of the sky, the sparkle of the Mediterranean, the
shadow and sunlight that play upon the garden statues,

250 GARDENS: THEIR FORM AND DESIGN

are what we cannot take to England, and some trees
would not thrive with us ; but a record of good colour
combinations, such as the happy effect of bamboos near
grey-green ilexes, may be useful in our home gardens.
Perhaps the best journey from the point of view of
botanic interest lies between Genoa and Pisa. Upon
those steep rocks which descend to the deep blue sea, as
the train dashes in and out amidst an eternity of tunnels,
we have time to see the Mediterranean heath, rock cistus,
and rosemary that takes its name from the spray of the
sea. They grow in the same profusion as wallflower and
valerian upon the chalk railway-banks of our South
Coast.

Just before Pisa is reached we have a wonderful and
lasting picture of the Carrara Mountains in the distance,
a wood of stone pines, and the deep blue sea beyond.
These trees look well in many different positions. Near
the coast they generally stand alone, no other tree near
by ; but they are fine, too, when farther inland they
spring from an undergrowth of a light green colour such
as sycamores. They seem to thrive best in Italy when
planted somewhat in a furrow or in a dip of the ground.
This idea of shelter from wind, when they first are planted,
applies also to the Austrian pines we have in England ;
for it is wonderful what careful protection at the com-
mencement of their growth will do for them.

Near Florence the stone pines grow upon what appears
to be absolute rock, so they are not fastidious as to soil.
In April the great woods of them between Empoli and
Florence are a beautiful dark green colour, and they are
planted about twelve or a few more feet apart. We long
to carry them back to our own country and to cover high
conspicuous mounds with them, putting broom and other
light green undergrowth near by. Although they are slow
of growth it is possible to have these pines in sheltered

TREES AND SHRUBS

251

English districts, and therefore our studies of these
essentially Southern trees will not have been in vain.
There are two totally different greens typical in early
spring of all Italian hillsides under deep strong shadow :
one is the dark green of stone pine, the other the slightly
yellowish green of cypress (Fig. 129).

FIG. 129.

Wherever a student explores it is good to make sketches
of any natural tree-planting that pleases ; for, even if the
groups of trees in other gardens are not copied, the mere
fact of noticing and drawing a good clump of trees
unconsciously teaches. Where dense shadow is needed,
along a very sunny path or the approach to a shrine or
burial-ground in Italy, we see a long row of cypresses

252 GARDENS: THEIR FORM AND DESIGN

planted some six feet apart upon the southern line of a path.
Often, too, they are on the south side of a wall, and then
both the wall and the tree-stems cast a shadow on the
path. The whole countryside seems full of interest with
these stately deep green outlines. We wonder so where
the avenues lead to, what the sunburnt peasant folk are
carrying along their shadow-walks, and whether they walk
in sorrow or joy. Thus comes to us the idea that it is
good, against the bank or wall which forms a terrace in a
hill garden, to have sentinel Irish yews placed at regular
intervals. This tree, from the point of view of colour and
habit of growth, is the nearest approach to an Italian
cypress. It is apt to be relegated too much to church-
yards, and is not sufficiently used to strengthen shadow
effects in the pleasure-ground.

Near the Arno, and farther north towards Lombardy,
the tall, straight poplar avenues, not cut back but allowed
to grow to their natural height, show what pictures can be
made with them on river banks, and the groves of
acacias, with light foliage waving in the slightest breeze,
give an idea of what simple opportunities we allow to
slip by in not planting them more freely. Why, too, do
we not have the Judas-tree? In many parts of England
large groups of the pink-flowered shrub would do well,
and we could put it near ilex-trees, which would resemble
the olive or cypress background we seem to see it against
in our dream-thoughts. Then, again, at Milan, have we
not seen the big groups of Spircea thunbergi and Cydonia
japonica, in beds surrounded by grass, and felt how many
a large expanse of English lawn could be beautified by
having these near it ? (Fig. 130.)

Thus after a tour in foreign countries we return
inspired and able to observe more readily the happy
effects achieved in our own parks and woods.

The following notes may be useful ; but in each case

TREES AND SHRUBS 253

the natural surroundings and requirements of the place
must be the chief consideration.

For a lovely early garden, Prumis mume (the Japanese
apricot) and the almond-tree, together with Cornus mas,
would look well against dark green foliage. The double
Chinese plum, too, is beautiful.

Sumach-trees, with " red-hot pokers " growing near

FIG. 130.

them, have a lovely effect in autumn. The large leaf of
Salvia argentea is nice as an edging.

Bushes of flowering currants show up pink against a
background of yew or box.

A rather uncommon shrub, but one which thrives well
on the west coast of Scotland, is Pittosporum undulatum*
It is an evergreen and not unlike an ilex.

254 GARDENS: THEIR FORM AND DESIGN

Then Desfontanea spinosa has a sort of holly-like leaf,
and is not enough seen.

Berberis stenophylla looks well against a dark green
background of yew. Yellow azaleas, too, look their best
against a dark green background.

FIG. 131.

B, A fir-tree, or tall cypress,

A berried shrub called white beam (Pyrus arid), allied
to crab but nearer to mountain ash, is good on chalky
soil.

Fabiana imbricata with its evergreen leaves, is not
sufficiently known.

The above are only a few of many personal impressions.
They can readily be added to.

TREES AND SHRUBS

255

BOSQUETS
(In Place of Shrubberies).

Why is it we have not more of these ? They are sadly
needed, both in our public parks and in private gardens.
A shrubbery, which is our way of expressing dense shelter
from either sun or wind, is not only an ugly word but
also usually a very gloomy feature.

In France and Italy, where, perhaps because of hot

Wall

Bamboo and Standard Trees

Path

The shaded parts are shrubberies
of Box and Ilex trees

FIG. 132.

days and consequent idleness, whole families, from
" bonne maman " to the latest arrival in long clothes, sit
talking, knitting, building castles in the air or in the sand,
according to their age and capabilities, we find these
happy resting-places. Here the "parente" assemble
and practically spend all the pleasant hours of the day.

The sketches shown will give some idea of how trees
can be planted to afford protection from any teasing
element. Although we, in our colder climate, have fewer
moments for idleness and are not quite as sociable as our
neighbours across the water, yet it would be an added
charm to have three circular clearings in a wood,
somewhat resembling the first sketch. One of these,
with a large overshadowing tree in the centre, would be

256 GARDENS: THEIR FORM AND DESIGN

furnished with garden benches or easy-chairs. The other
circle is for colder days when sunshine is feeble, or
may be an open space for children to make their play-
ground. A careful study of the points of the compass and
the question where sunlight will fall, or prevailing winds

® &

Q a A ^ /m ^

£& ®

a a © ® %

*»^A*« « »**V0*

££ ^

B

& r ?s

® ^ (^ A ^ ®

vd Gl

A= Wide and narrow paths.

B= Open space for band- stand.

®= Trees forming avenues.

FIG. 133.

are likely to blow, must be made before the plan is actually
carried out. For dense shadow, ilexes and hollies could
be used, whilst for a less dense plantation nut-trees are
good. If there happens to be a wood near the house,
the task is easier, for a man and an axe will quickly make
the clearings.

TREES AND SHRUBS

257

The sketch shows an equally good arrangement
(Fig. 13?). It exists in an Italian garden. At A there
is absolute shadow from the hot sun, and at B no breath of
east wind penetrates, these being often the two enemies to
be overcome.

The third plan is one suitable for a public garden,
Fig- 133. The paths A can be wide enough to allow
large numbers of nurses and perambulators to pass along in
the shadow of tall trees, whilst the somewhat oval-shaped
space B is good for a bandstand, or as a pleasant place
for skipping and games. This rond-point was in an Italian
garden, and the trees shown were tall cypresses, so that
the shadows cast upon the paths were deep. The plan
can be carried out with any of our hardy trees. In a
garden in Siena, where shade was badly needed, they had
planted a long line of cypress-trees along the south side of
a bank about four feet from it, thus leaving room for a
narrow paved walk in shadow. This, too, though not a
bosquet, is a means of obtaining shadow, and would lend
itself to many an English garden.

GARDEN PLANS

A CHAPTER FOR THE OWNER OF A GARDEN AS WELL
AS FOR THE CRAFTSMAN.

IN one of those delightful country houses which have
been handed down to us almost as national heirlooms,
because each successive father and son valued them
as such, is a large vellum-bound, treasured book. In it
are many ideas for gardens. It was composed some 250
years ago, about the time the present house was built.
There are drawings of the house, gardens, and several
farmhouses belonging to the property. On other pages
are exact plans of fields, with names that existed probably
at the time of Domesday, but have not been much altered
since. We must not forget the old parterre garden, with
its maze-like knots formed of box-edging and gay flowers,
and the long narrow stretch of bowling-green. These,
alas ! were superseded by the Early Victorian lawn, cut
up in places by starlike beds, half-moons, and all
the restless emblems of that time. Were it not for this
record, we should scarcely know what quiet dignity and
beauty once surrounded the house, and it is a satisfaction
to feel that a future generation may, perhaps, be moved

258

GARDEN PLANS 259

to replace in detail what is marked down so clearly within
the vellum binding.

Each drawing or plan is prettily coloured, and enclosed
in a circular frame with bay-leaf or oak-leaf pattern when
some other suitable floral device is not used.

The old-fashioned, graceful, flowing type of writing
which explains each picture adds to the charm. Usually,
any extra details are inserted upon an ornate escutcheon,
somewhat similar to an ex-libris of that date. The
colours used are mellow and soft. Perhaps time may
have helped in this, but the whole is such a work of art
that we feel there never can have been much that was
crude about it. A touch of gold in some of the most
important frames is helpful and gives a rich appearance to
the whole. Much could be learnt from the perusal of
any similar volumes which, no doubt, exist in secret
hiding on the book-shelves of many an old country home.
A study, too, of old bill-heads, title-pages, and book-plates
helps much to that free use of clear and suitable writing
which is so important a part in plan-drawing. What a
distinction there is in writing that has strength and depth
of colour in the shadow parts and the finest hair-like
touch in the light lines ! Then a few whirls and flourishes
above or below a capital letter are pleasant. It is not
only the mastery of the penmanship we appreciate. We
value amid our hurried, somewhat careless, machine-made
work of modern days anything that recalls the careful,
personal touch of ancient craftsmanship.

Many ladies who own large places and are in the habit
of making alterations and improvements each year may
feel tempted to have such books.

There are several different kinds of drawings which
might well be included in a similar collection of the vary-
ing life of a garden. It would be useful to have in it a
carefully drawn plan of each orchard. The exact position

260 GARDENS: THEIR FORM AND DESIGN

of every fruit-tree, the date of planting, name, and even
any special treatment it receives, could be set down.
Such particulars would be invaluable when pruning-
time came round, for trees should be hard or light
pruned according to the variety ; whereas often, owing to
their names being forgotten, all are treated alike. When
apples, too, are picked in autumn for storing, the work is
done so much more quickly if the names and positions of
late and early kinds are known. Then another great help
to the fruit-grower would be what so far has only been
done accurately in small gardens. A careful yearly
drawing or painting of the branches of well-trained trees
could be made. In a very large garden where there are
over a hundred peaches, nectarines, cherries, and plums
grown upon walls, it would be a stupendous task to
make a detailed drawing of how each branch is
pruned. It is different in a small garden, where the
owner himself, perhaps, lends a hand or is interested.
Much can be learnt by this yearly review of work done,
and a student would acquire valuable knowledge by
introducing such an idea into any small gardens which she
regularly supervises.

Yet another record of our garden archives would be a
map-like plan of the herbaceous border, so that the
position of plants can at once be found. Many interesting
ones, perhaps the gifts of friends, or sent from distant
countries, are handed over to the faithful retainer Spud,
and planted with all the honours of victory. Possibly at
planting-time they are watched over by the owner and his
family : yet later they are forgotten. Should any unfore-
seen fate remove Spud to a remote region, either in this
world or the next, there may be no record of the exact
position these plants occupy in the borders. A sort ot
inventory of all precious trees, shrubs, herbaceous plants,

GARDEN PLANS 261

artistically and carefully filled in, would be a lasting happi-
ness to many a garden-lover.

Another cunningly devised design is a sketch-like
coloured plan of a garden, belonging to a large and
interesting place, which through the generosity of the
owner is at stated times thrown open to the public.
Unlike an ordinary prosaic ground-plan, this amusing
illustrated guide has been cleverly elaborated. Vegetables
in the kitchen-garden are represented with faces. Three
white, stout gentlemen Turnips sigh for the hand of a
lovely lady, who is evidently, by the shape of her green
feathery head-dress, " Miss Celery." Flower-beds are
shown by heads with costumes emblematic of them.
Two smart Mr. Sunflowers bow to Ladies Scarlet Poppy.
We are shown on the plan where to find the greenhouses
" where ye gardeners toile." From the glare and heat of
one drive we are taken into the contrasting cool of "ye
lounge walke of coole and shade." Shadow and rest
are also ours in "ye songster's bower, being thickly
planted wood," and again in "ye small byrdies' paradise,
another wood." We have much joy in this garden, but
it would not perhaps be human without some sadness :
and so, to make it complete, we find " ye weeping corner,"
represented by weeping willow trees.

The ideas for garden plans above sketched await the
further imaginings of a clever craftswoman. They can
be worked out in many different ways, but it would seem
to be essentially the province of an artistic lady. She
should be able to understand readily the little touches of
good taste and originality that will convey pleasure to a
client. For instance, often a woman, otherwise very
intelligent, finds it impossible to read a ground-plan or
map. In other cases, people find it difficult to visualize a
bare bit of ground as it will appear when alterations have
taken place. This is a very common failing with both

262 GARDENS: THEIR FORM AND DESIGN

men and women. In such instances the garden crafts-
woman will be able to submit a perspective drawing,
whereby the whole future transformation can be understood
by all. '

Another more child-like way of representation is by
means of a miniature model, of earth or plaster, of the
garden as it will be. Trees and plants are shown by
means of twigs and pieces of plants stuck upright
in the small earth-beds upon the model.

How best can a lady acquire training and develop
imagination sufficiently to make a success of this branch
of Art? The following notes, which have already been
found useful by some young people, may form perhaps a
working outline for others. They only follow, however,
upon a sound course of practical land-survey lessons at a
college.

HOW TO ADD AN ARTISTIC AND PERSONAL TOUCH TO
COLLEGE STUDIES.

One of our greatest painters, G. F. Watts, was in the
habit of saying to a young student : " Go and look at the
Old Masters, not to copy them, but to admire them : look
at Nature and be yourself. Learn the principles of Art,
but never mind about the rules ; they may be broken, and
are, by every great painter. The principles are funda-
mental." So, too, must the craftswoman in garden
design build up on that which has gone before. Primarily,
therefore, read as many of the books (such as those
mentioned in the Appendix) as is possible ; and above all,
when the smallest thing strikes you as good, either in a
book, in the wild woods of Nature, or in cultivated gardens,
note it down. Make careful drawings or tracings of those
plans or sketches of gardens which represent various
historic dates. Keep all these and have them neatly
arranged in a small show-book, which you can take to

GARDEN PLANS 263

clients for preliminary discussion. For all practical and
detailed information as to plan-drawing, read Miss Agar's
" Garden Design," an admirable work. Study also all Miss
Jekyll's books, and in especial her " Gardens for Small
Country Houses." To get a good idea of a really
first-class, artistic plan, carefully and minutely drawn,
examine Mr. Inigo Triggs's plans in " Formal Gardens
in England and Scotland." They are in thoroughly good
taste.

Let us take, for instance, what can be learnt from his
plan marked " Montacute " in Somersetshire. The
following are points to remember :

(1) He signs " Mens " after his name of Inigo Triggs,
when he has himself taken measurements. He always
puts the date.

(2) A deep and thick ink-line marks out all buildings,
such as the house, pavilion, and greenhouses. They are
thus easily distinguished as solid compared with lighter
garden structures.

(Copy also the way the shading is done inside the dark
outlines.)

(3) A pretty Tudor rose marks out the points of the
compass. A small collection of useful decorative subjects
for this should be made by you.

(4) Grass is shown by little faint dots everywhere.

(5) Hardly any key is necessary, as the plan with its
explanatory section drawing is so clear. Be sure to
follow the meaning of the section, and where it fits upon
the plan.

On Plan 56 for Groombridge Place (the same book)
notice that a different kind of shading is adopted for the
house and the gardener's cottage.

(6) See, too, the simple rendering of bridges and moat.
Also look at the charming device, the shield and the
interesting little drawings of statues and dovecote at the

264 GARDENS: THEIR FORM AND DESIGN

top. Then again, study in Plate 59 of Haddon Hall
(same book) the typical Elizabethan name-label. The
thick lines for house and surround-
ing walls are good.

Another characteristic of Mr.
Triggs is the twisted pattern for
the yew-hedge.

A very good perspective view

FIG. 134.

is

shown of Little
Compton, Plate 63
(same book). Note the
way the trees are shown
and shaded.

See the way knots
and parterres are ren-
dered (Plate 1 05) in the
same way as grass.

For your private
sketch-book, collect all
designs of escutcheons
that you may think
good, such as Fig. 134.

An especially good
name-label, with plenty
of room upon it for
writing, is Fig. 135.

A good lozenge-
shield for a lady is Fig. 136. A good compass-mark is
Fig. 137.

FIG. 135.

GARDEN PLANS

265

FIG. 136.

Then again, Fig. 138, although only an emblem, is such
a pretty one that it is worth remembering. This can
easily be adapted to any purpose.

In sending plans to clients,
be careful to roll them up
neatly, so that from the first
there is a little bit of excite-
ment and pleasure in open-
ing them and looking at
them. Glynde College hap-
pens to be very particular
about this, and an amusing
little collection has been
made of the varied materials
used by different students
in tying up their rolls to
send in for inspection by
the Principal.

We have a brown elastic ring with ink blots on it, too
limp to grip the roll properly ; a long, jagged piece of
raffia; a piece of white sewing-
cotton, with knots still remaining
in it.

These show the wide and varied
selections of the feminine mind.
The only satisfactory tie among
those treasured is a piece of narrow
blue ribbon, which had a pretty
true-lover's knot and made the roll
look like a real artist's work. We feel sure Portia would
have had something similar.

Coloured ground plans are more effective than pen-and-
ink ones. At the same time there are few old ones to
copy. It is far easier to obtain models of black-and-
white perspective plans, for here we have Du Cerceau's

FIG. 137.

266 GARDENS: THEIR FORM AND DESIGN

and KypsJ, which are admirable. The best architects
have good plans with faint colours, and a course of study
with one of these professional men would be the most
satisfactory way to gain knowledge in this respect. Should

this not be feasible, then study at
the South Kensington Museum
in the Engraving Department the
colours used in " Mural Painting
in Italy " (No. 2396 in the Cata-
logue). In this collection, the
one of Castello di Pandino, near
Lodi, is well and evenly coloured,
not too strong in tone. With
the aid of this collection a student
may well decide upon a colour
scheme of her own to be used
upon plans.

In all the work here mentioned no fixed rules can be
laid down. Success depends upon study of Old Masters,
imagination, careful restraint, and love of the work.
These are the qualities which bring out personality in
plan-drawing.

FIG.

THE FUTURE GARDEN DESIGNER

THE reader who has been interested enough in
garden craft to persevere in reading through this
book may perhaps wonder who the garden designer
of the future will be, and how he (or she) can attain
sufficient experience and knowledge to become thoroughly
competent in this complicated and extensive subject.
Those who are thoroughly conversant with the educa-
tional side of horticulture, who have watched the activity
and success of women in this craft, and are consequently
fitted to give a sound opinion upon the prospects for pro-
fessionals in the various branches of garden craft, agree
that to make a success of garden design rather special
gifts and qualities are essential.

Briefly, the necessary qualifications (and they apply to
both men and women) are :

1. Sound health and love of outdoor life, with the con-
sequent accompaniment of indifference to bad weather,
early rising, arduous days of travelling from one place to
another, and other hardships.

2. Talent for drawing and artistic work, but, above all,
a gift which can be cultivated by practice, that of being-
able to foresee ground alterations. In brief, the word
" imagination " comprises what is here required.

3. The most important point of all, and one which has
hardly been sufficiently impressed upon the public — is that,

267

268 GARDENS: THEIR FORM AND DESIGN

a superior education is essential. The labourer works
willingly for one who is above him by education as well
as by birth. He will obey orders from either the man or
the woman whom he feels to be, through upbringing,
ahead of him in thought, while at the same time, through
gentle birth, he or she will in all probability treat him
with a fairness and justice which other masters might not
be so careful to maintain.

I feel sure that much of the difficulty we have had up to
now in introducing garden craft as a profession for women
has been, as it still is, that we do not get the right women.
If only the daughters of country squires, Army and Navy
men and others, many of whom have but a limited income
and are obliged to earn their living, would come to us for
a training, good remuneration and an intensely interesting
life would be theirs after two years of study. It is just
that "grit" that is valued in the commanding officer
which is required, too, in the man or woman who directs
garden operations; and this applies equally to all branches,
whether it be in the posts of head-gardener, of advisory
expert, or of garden designer, or in the more independent
careers of smallholders and market-gardeners. Tact in
the management of men, forethought for the further
increase and the health and protection of all plants, a
cheerfulness undaunted by the teasing elements that
destroy crops, or wicked pests that devour them — these
are what the garden craftsman must exercise.

The war has taught us that for the good of the nation
we should encourage a return to country life. In all
probability this will be carried out because those gentle-
folk whose incomes have become greatly reduced will
welcome an active, health-giving occupation in the midst
of rural conditions. Here appears, therefore, to be every
prospect of the renewal of the steady, settled, fruitful work

THE FUTURE GARDEN DESIGNER 269

which formerly existed in villages, but which was fast
vanishing before the war commenced.

This reconstruction is likely to give us an answer to the
first question — viz., who the garden designer of the future
will be. Groups of market growers, smallholders, and
others who are interested in village industries, will settle
themselves in the many new cottages that are to be built,
and where two or three gentlefolk join together in
one business concern, they could each undertake the
management of a separate department. For instance,
the partner who possessed an artistic temperament would
appear to be eminently suited to the study of garden
design. Moreover, he (or she) might combine this with
other work of the same description, such as drawing plans
of orchards, which was touched upon in a previous chapter,
or advisory work upon planting or about the rotation of
crops. A few days could be profitably devoted to pruning
the fruit in neighbouring gardens, whilst the culture of
ornamental shrubs and plants for sale could be pursued in
the home garden.

Three or four ladies who have learnt in previous years
that they can work well and happily together, and who
know the economic gains that accrue from sharing the
expense of rent and requisites, might well keep house
together. Likewise, the life of a smallholder should
appeal to many ex-Service officers, and' if their wives and
children join in all the interests of pig-keeping and goat-
keeping, fruit-growing and bottling, we should quickly
increase the food of our country, which is what our leaders
desire.

The monotony of existence which until recently had
impressed itself upon many through their utter forgetful-
ness of the activities and the simple pleasures of
country life, will be, it is hoped, now dispersed. Social
meetings, concerts, intercourse upon common topics, such

2;o GARDENS: THEIR FORM AND DESIGN

as fruit-growing, pruning, spraying, bee-keeping, and all
the matters that affect the dweller in a village, are at the
moment encouraged. These subjects, with an increasing
knowledge of the good to be derived from co-operation,
are matters which the Women's Institutes have brought
within the reach of all.

In looking towards the future, we venture to hope that
the enthusiasm expended upon this field of women's work
may not unconsciously drift into such trivial entertainments
as whist-drives, backgammon evenings, or summer tea-
parties to view the gardens belonging to richer neighbours.
Such frivolities may satisfy some, but there should be a
preponderating desire for progress, and the programmes of
the Institutes should show this. It is to the leading land-
owners1 wives and daughters that we look, for they alone
can induce the really practical, hard-working men and
women gardeners, smallholders and others to lend their
experience and advice to the community at these village
meetings.

By enlisting their interest and help, the Women's
Institutes would eventually establish such much-needed
things as local markets for food-stuffs. Other much-
desired benefits would follow, such as improved transport
facilities and a better regulation of weights and measures.

We have watched with interest the prosperity of the
fruit-growers' colonies in Worcestershire, where the life is
by no means a narrow one intellectually. That it is
health-giving, both morally and physically, we are well
assured. Then, too, owing to all the members being
occupied in similar pursuits, they are able to meet in their
spare time with refreshing pleasure in the discussion of
subjects which not only concern them, but are of vital
importance to the nation.

We now come to the next question : How can the
garden designer attain sufficient knowledge to become

THE FUTURE GARDEN DESIGNER 271

thoroughly competent in this extensive subject ? We must
confess that at the moment there appears to be no other
course than apprenticeship to one of the comparatively few
masters of the Art. The only addition to this would be
the knowledge of practical work to be attained by spending
two years in a large private garden or a horticultural
college.

Is it not to be hoped that in the years that lie before us
some well-endowed College of Garden Design may be
founded ? The instruction there given would comprise
town-planning, garden-cities, as well as the lay-out of
ornamental public and private parks and gardens.

There is so much that could thereby be done to
improve the level of public taste, if public grounds were
laid out with care and restraint. It would seem that if
such a branch of learning were more developed, it would
not alone benefit the scholars, but the general public, too,
would gain thereby.

It has been my endeavour in these brief notes to give
an outline of the delightful, all-engrossing work which
lies extended before the garden-lover. Whatever the
branch is that is taken up, whether it be advisory work
for private gardens, jobbing gardening, or the larger scope
of laying out public parks and gardens, the professional
has to be fully equipped with business habits, and
intelligence in book-keeping. This, together with the
power of making estimates of material and labour needed,
is a branch of study in itself. The scope of this book
includes only other more imaginative work in garden-
making.

One or two suggestions, however, for the general benefit
of lady gardeners other than my own trained students, I
wish to take this opportunity of making known. They
are the outcome of personal experience, and it is hoped
they will be found to give a means for satisfactory

272 GARDENS: THEIR FORM AND DESIGN

fulfilment of work between client and landscape gardener.
As the material offered may not be of interest to the
general public, I have included it in the Appendix, so that
only the serious worker should study it.

TTKE END

APPENDIX

PRACTICAL HINTS AS TO CONTRACTS OR

AGREEMENTS INCIDENT TO THE LAYING OUT

OF GARDENS

THE laying out of a really nice garden being of
necessity an expensive and also an important
matter, it is desirable that there should be in every
case a clear and definite agreement as to the work.

The neglect of this simple precaution may lead to
utterly unnecessary contention and to avoidable expense.

In the absence of such an agreement questions may
arise, for instance, as to what the agreement really was,
what work was to be done, and at what price, what
variations and extras were agreed upon, and so on ad
infinitum.

This will mean inevitably the introduction, on one side
or the other, of lawyers to settle the questions, and they, in
their professional, contentious capacity at all events, should
be barred out of gardens. If the following few simple
suggestions are borne in mind and acted upon by those
who contemplate the making or the altering of important
gardens, the work will be completed without hindrance.

(i) First and foremost at the outset there should be a
simple, clear agreement in writing, showing in detail what
work is to be done and at what cost, and signed by the
gardener and the client before the work is actually
commenced.

273 18

274 GARDENS: THEIR FORM AND DESIGN

(2) There should be clear drawings and plans of the
work, and two copies at least of each, so that each party
may sign both and hold one.

(3) There should be no variation, alteration, or extra
work without the recorded consent of both parties, and
this consent can best be noted upon the actual agreement.

The agreement should also show when the work under-
taken is to be completed.

If, notwithstanding the agreement, any differences
between the parties arise, there should be a provision that
any such question is to be referred to an independent
gardening expert, and that this expert shall determine the
question.

The independent, skilled, reliable gardener can dispose
easily of any practical question or difference without the
circumlocution, delay, and expense inevitable if the aid of
law and lawyers is invoked in a case.

(4) The agreement should be prepared in duplicate.
Each party — that is, both gardener and client — should
sign both copies, and each should hold one part.

Immediately after the signatures the agreement should
be stamped. The stamp duty is only nominal — 6d. The
general impression that stamping makes a contract " legal "
is an erroneous one. It is merely a matter of inland
revenue duty. It happens sometimes that if unstamped
and required to be put in evidence, a document cannot
be so used without the stamp duty and a penalty being
paid.

The "specimen agreement which follows may be treated
as a model contract and adapted easily to any particular
case.

:ssedorHtt H0VCCtttCttt made in duplicate this

ve)i6d'dayof 191 between

of

in the County of

(hereinafter called " the Employer ") of
the one part and
of

in the County of (hereinafter

called " the Contractor ") of the other part

IKUbCtCftS the Employer desires certain garden work to be carried
out at

upon land or ground in his (or her) occupation there and has caused
drawings and a specification describing the work to be done to be
prepared in duplicate by

of

(his or her)

Advisory Gardening Expert
Hltfc WbereaS the said drawings Nos.

to inclusive in duplicate and

the Specification marked " A " in duplicate have been signed by the
Employer and Contractor

Hn8 MbereaS the Contractor at the request of the Employer has
agreed to carry out for the Employer the work shown upon the said
drawings and described in the said specification for the sum of

pounds

1ROW it i9 bCteb£ acjtCefc by and between the parties hereto as
follows :

1. In consideration of the sum of £ (to be paid by
the Employer as hereinafter provided) the Contractor will carry out
and complete the whole of the work shown upon the said drawings
and described in the said specification in a skilful and workmanlike
manner to the satisfaction of the said

on or before the day of

next

2. No variation or alteration in the said plan and specification and
no extra work shall be allowed without the consent of both parties
recorded in writing upon this agreement and signed by both
Employer and Contractor. Any question of payment or any adjust-
ment arising out of any authorized variation alteration or extra shall
be decided by the said

275

276 GARDENS: THEIR FORM AND DESIGN

3. Provided the work hereby agreed to be carried out shall be
done satisfactorily as aforesaid the sum of £ hereinbefore
agreed to be paid by the Employer to the Contractor shall be paid
by three instalments as follows :

(a) One-third when one-third or thereabouts of the work shall

be done to the satisfaction of the said

as certified by the said

in writing
(£) One-third when two- thirds or thereabouts of the said work

shall be done to the like satisfaction
(c] One-third when the whole of the said work has been done to

the like satisfaction

4. If any dispute or difference shall arise between the Employer
and the Contractor at any time as to any matter arising under this
agreement such dispute or difference shall be referred for final
decision to an independent practical gardener to be agreed upon by
the parties and failing agreement to be nominated by the President
for the time being of the Royal Horticultural Society. The sub-
mission to arbitration shall be under the Arbitration Act but no
legal professional advocacy shall be admissible

WitnCSd the hands of the parties hereto

(EMPLOYER)
(CONTRACTOR)
to the signature
of (Employer)
A. B.
Address
Occupation

to the signature
of (Contractor)

A. B!

Address
Occupation

BIBLIOGRAPHY

BOOKS FOR STUDENTS TO READ

GARDEN DESIGN

BIXIO, ALEXAXDRE : Maison Rustique du XIXe Siecle. Encyclopedic

d' Agriculture pratique. A la Libraire Agricole. Paris, 1844. 5 vols.

8vo.
COXDER, JOSIAH : Landscape Gardening in Japan. Kelly and Walsh,

Yokohama. Tokio, 1893. 4to. Supplement to Landscape Gardening

in Japan. Kelly and Walsh, Yokohama. Tokio, 1893. 4to.
D'ARGEXYILLE, D. A. J. : La Theorie et la Pratique du Jardinage . . .

Nouvelle edition. J. Husson, La Haye, 1715. 4to.
The Theory and Practice of Gardening . . . done from the French

original, printed at Paris, anno 1709, by John James. M. Ackins,

London, 1712. 4to.
(London says : " Only the first edition of this work appeared with

the name of the author, who afterwards adopted that of Le Blond, by

whose name the book is best known.")
ERXOUFF, BARON : L'Art des Jardins. Pares, Jardins, Promenades. J±tude

historique. Principes de la composition des Jardins. Plantations.

Decoration pittoresquc et artistique des Pares et Jardins publics.

Traite pratique et didactique. Troisieme edition, entierement refondue,

avec le concours de A. Alphand. J. Rothschild, Paris, n.d. 4to.
EVELYN, J. : Kalendarium Hortense : or the Gardener's Almanac, direct-
ing what to do monthly throughout the year ; and what fruits and

flowers are in prime. 8th ed. R. Chiswell, T. Sawbridge, R. Bently,

London, 1691. 8vo.
EVELYN, J. : Sylva, or a Discourse of Forest Trees ... to which is

annexed Pomona ; or, an Appendix concerning Fruit-Trees in Relation

to Cider ; . . . also Kalendarium Hortense ; or the Gard'ners Almanac.

. . . J. Martyn and J. Alleslry, London, 1664. Sm. fol. 2nd ed.

J. Martyn and J. Allestry, London, 1670. Sm. fol.
FOUQUIER, M. ET DUCHENE, A. : Des divers Styles de Jardins. E. Paul,

Paris, 1914. 4to.
JEKYLL, GERTRUDE : Some English Gardens. After Drawings by George

S. Elgood. Longmans, London, 1910. 4to.
(GEXTIL, F.) and LIGER, L. : The Retired Gard'ner. The 2nd Volume.

Containing the manner of planting and cultivating all sorts of flowers,

277

278 GARDENS : THEIR FORM AND DESIGN

plants, shrubs, and under shrubs, . . . being a translation from the
Sieur L. Liger. To this volume is added, A Description and Plan of
Count Tallard's Garden at Nottingham. The whole revised ... by
G. London and H. Wise. Jacob Tonson, London, 1706. 8vo.

GODFREY, WALTER H. : Gardens in the Making. B. T. Batsford, London,
1914. 8vo.

GRISEBACH, AUGUST : Der Garten cine Geschichte seiner kiinstlerischen
Gestaltung. Klinkhardt and Biermann, Leipzig, 1910. La 8vo.

KEMP, EDWARD : How to lay out a Garden ; intended as a General Guide
in choosing, forming, or improving an Estate, . . . with reference
to both Design and Execution. 3rd ed. Bradbury and Evans,
London, 1864. 8vo.

LANGLEY, BATTY : New Principles of Gardening : or, the Laying out
and Planting Parterres, Groves, Wildernesses, Labyrinths, Avenues,
Parks, etc. ... A. Bettesworth, J. Batley, J. Pemberton, J. Bowles,
London, 1728. 4to.

LOUDON, J. : A Treatise on Forming, Improving, and Managing Country
Residences ; and on the Choice of Situation Appropriate to every
Class of Purchasers. . . . Longman, Hurst, Rees and Orme, London,
1806. 2 vols., 4to.

MAWSON, THOMAS, H. : The Art and Craft of Garden Making. 4th ed.
Batsford, London, 1912. Folio.

MILNER, HENRY ERNEST : The Art and Practice of Landscape Gardening.
Simpkin, Marshall and Co., London, 1890. 4to.

PLAT, SIR HUGH : The Garden of Eden : or an Accurate Description of all
Flowers and Fruits now growing in England, with Particular Rules
how to advance their Nature and Growth, as well in Seeds and Herbs,
as the Secret Ordering of Trees and Plants. In two parts. 6th ed.
W. and J. Leake, London, 1675. Sm. 8vo.

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INDEX

ADONIS, Festival of, 154
Agar, Miss, 263
Alhambra, the, 109
Amalienburg Schloss, 175
Amiens, 248
Anne, Queen, 43
Approach, a circular, 8
Arbour, 28, 34
Assyrian times, 72
Athens, 154
Avenue, 5, 6

Babylonian times, 72

Badeburg Schloss, 174, 175

Bacon, Lord, 90, 233

Bagatelle, the garden of, 225, 231,

232

Battersea Park, 224
Bay Trees, 57
Beauvais, 248
Berceau or gallery, xi, 30, 86, no,

196, 197
Bosquets, 113

Bouillons in water gardening, no
Boulogne, the Bois de, 225
Boxes, Terra Cotta, 58
Briggs, R. A., 200
Buckingham Palace, 187
Burbidge, Mr., 117
Bury Rostaing, 48

Capability Brown, 179, 233

Carlyle, Statue of, 225

Castello di Pandino, near Lodi, 266

Chantilly, 4, 46, 82, 231

Charles II., time of, 9, 41, 43

Chaucer's pilgrims, 95

Cheyne Row, 163

Walk, 225

Chesterfield, the Earl of, 5
Cimsello, the garden of, 19
Cleeve Prior, Worcestershire, 97
Clifton Malbank in Somersetshire,

College of Garden Design, 271
Compton Factory in Surrey, 152
Compton Wy nates, 214
Conde, Statue of the Grand, 232

282

Cotell, 109

Crispin de Passe, 87

Crusaders, the, 66

D'Argenville, 107

De Cleefse Linde-boom, 106

Delany, Mrs., 177

Du Cerceau, x, xvii, 46, 265

Dutch gardens, 24

picture, 179

print, 84

style, 1.17

Earth banks, 134
Egyptian pictures, 55
Elizabeth, Queen, 177
Elizabethan, avenues, 3, 87

garden, n

name label, 264

stone seat, 198

times, 119, 185, 186
Epicurus, 181
Ethington Manor, Warwickshire, 178

Floating island, 124, 125
Florence, 250
Forecourt, i, 8, 9, 13, 57
Formal style, 20, 38
Fra Angelico, 243
Frame yard, 55
France, 235
French, a design, 9

gardens, 59
Fruit-grower's colonies, 270

Golkainer, Johan Christoph, 59

Gardener's Labyrinth, the, 87

Gatehouse, entrance to a, 13

Gates and gateways, 13, 14, 15, 16

Generalife, the, 109

Genoa, 156, 250

George III., 177

Gerbes in water gardens, no

Germany, gardens in, 63

Glynde College of Gardening, ix, xiv,

xv, 37, 265
Goodwood, 177
Gozzoli, Benozzo, 64

INDEX

283

Gravetye Manor, 76, 77

Great Moghuls, the gardens of the,

108

Greenhouse, a skeleton, 183
Grilles, 89

Grimani, the, Breviary, 66, 186
Groombridge Place, Kent, 263

Haddon Hall, 9, 264

Hadrian's Villa, in

Haha, the, 133

Hampton Court, 3, 69, 87, no, 160,

187, 223, 230
Heine, 222
Henry VIII., 69, 187
Hentzner, Paul, 119
Herb Garden, 12
Herbaceous beds, 39
Hermes, 188
Hewlett, Maurice, x
Hill, Thomas, 44
Holland, gardens in, 63, 109, no, 179,

203

Homer, the time of, 55
Horsham, 162
Hortus Floridus, 87
Hyde Park, 67, 231

lie d' Amour, 82, 83

Initial letter gardens, 35, 36, 44

Italian garden, 41, 59

hillside, 74

pictures, 18
Italy, Cypress trees, 7

garden in, 257

market garden in, 129

roof garden in, 154

vine garlands, 5

vines in, 66, 75, 236, 242

Japanese, the, x, xvii, 26, 123

houses, 47

idea, 140, 160, 190

mountain scene, xii

roof, 125

Jardin Anglais, the, 83
Jekyll, Miss Gertrude, xiv
Jeu de Paume house, 82
Jumieges, the Abbey of, 206

Kensington Palace, 24, 62, 81, 86, 172,
198, 219, 220, 231

Square, 163
Kingsley, Charles, xvi
"Kynge's Beestes," the, 69, 187
Kyp, his drawings, 49, 266

La Quintinie, 108

Le Brun, 108

Leicester, the Earl of, 177

Le Notre, xi, xiii, xvii, 46, 81, 107,

108, 109, no, 146, 187
Levens, 97
Lime avenue, 6

trees, 25, 86, 117

walks, 3, 8 1

Lindfield, Old Place, 97
Little Compton, 264
Lodges, 4

Losely in Surrey, 176
Lusthuys, Palace of, 90

Massetts Place, Scaynes Hill, xv

Maze, the, 44

Menuisiers, the Corps de, 63

Merrow Downs, 95

Middle Ages, 12, 118, 185, 213

Montacute, 177, 178, 263

Moonlight garden, a, 79

Mount, the, 97

Musgrave, Mrs. Peete, xv

Natural style, the, 20
Newman, Cardinal, 17
Normandy, a garden called, 162
Nunmonkton in Yorkshire, 177
Nuremberg, 59
Nymphenburg, 174

Old Place, Lindfield, 97
Oreno, 90

Osborne House, 230
Osterly, 172
Oxenhoath in Kent, 176

Packwood in Worcestershire, 97, 177

Park Lane, 226

Parterre garden, the, 60, 102, 192

Passage garden, the, 20, 22

Perelle, no, 156

Phrenix Park, the, 5

Piers to a gateway, 12

Pisa, 250

Pistoja, 75

Piato, 181

Pliny, 66

Plough, a small, 215, 220

Plumes, celery called, 219

Pomarium, 212, 216

Pompeii, the gardens of, 66, 108

Pope, Alexander, 19, 106

Pots, ornamental, 24, 36, 57, 59

Raised flower beds, 43

Kepton, Humphrey, xvii

Reserve garden, the, 47, 49

Riccardi Palace, 64

Robinson, Mr. William, 39, 76, 248

Romaunt de la Hose, the, 65, 67

Rond-point, a, 149, 257

284 GARDENS: THEIR FORM AND DESIGN

Ro\vlandson, Thomas, a print by, i,

204

Royal Horticultural Society, 216
Rutland Gate, a roof garden in, 160

St. Martha's Church, near Guildford,

95

San Francesco, the garden of, 36
Schleissheim, near Munich, 203
Scotti, Count Batta, 90
Seat, a sepulchral, 200
Serpentine, the, 120
Shadow houses, 175, 184. 212
Siena, 36, 60, 68, 157, 257
Silent Pool, the, Surrey, 121
Smallholding, the, xv, 216, 221
Spanish gardens, 208
Stew-pond, 115
Stone gardens, by Rose Haig

Thomas, 167
Summer house, 123
Surprise gardens, n, 28, 102
Swedish garden, 89
pictures, 18, 84
Switzerland, 75, 235

Tapis Vert, 4, 113

Temples, 89

Theatre, Palissades de, 22, 23

Thomas, Rose Haig, 167

Topiary work, 19

Trees in pots, 41

Treillage, frames of, 24

gallery of, 32, 45

hedges, xi

obelisks, 85, 93

Treillage, pedestals, 24

Trionon, the Petit, 20

Triggs, Mr. Inigo, 263, 264

Trinity College, Dublin, 117, 229

Tripods, 8

Tubs, wooden, 151

Tudor garden, 104

Tusser, Thomas, 213

" Tuteurs " of vines, 240, 241, 242

Vatican, gardens of the, 206

Veithochsheim, 180 .

Versailles, 4, 20, 71, 108, no, 149

Vestal Palace, 117

Villa Angiana, 87
d'Este, 108
Docci at Genoa, 249
Lante at Bagnaia, 209

Villepreux, Counts of, 108

Vines in Italy, 66

Vischer, Nicholaus, 87

Vouet, 108

Walls, dry, 132, 133

flint, 12

mason's, 133, 135
Warwick Castle, 8
Water garden, 46
Watts, G. F., 262

Mrs., 58, 152

11 Whitehall," the gardens of, 119
Wilbury, 180
Wilderness, the, 97
William III., 81, 85, 90, 177, 202
Wren, Sir Christopher, 198

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