[6]Think of "a paradise not like this of ours with so much pains and curiosity made with hands"—says Evelyn, in the middle of a rhapsody on flowers—"eternal in the heavens, where all the trees are trees of life, the flowers all amaranths; all the plants perennial, ever verdant, ever pregnant, and where those who desire knowledge may taste freely of the fruit of that tree which cost the first gardener and posterity so dear." (Sylva, "Of Forest-trees," p. 148.)
[6]Think of "a paradise not like this of ours with so much pains and curiosity made with hands"—says Evelyn, in the middle of a rhapsody on flowers—"eternal in the heavens, where all the trees are trees of life, the flowers all amaranths; all the plants perennial, ever verdant, ever pregnant, and where those who desire knowledge may taste freely of the fruit of that tree which cost the first gardener and posterity so dear." (Sylva, "Of Forest-trees," p. 148.)
[7]"My Epitaph.""Below lies one whose name was traced in sand—He died, not knowing what it was to live;Died while the first sweet consciousness of manhoodAnd maiden thought electrified his soul:Faint beatings in the calyx of the rose.Bewildered reader, pass without a sighIn a proud sorrow! There is life with God,In other Kingdom of a sweeter air;In Eden every flower is blown. Amen."David Gray("A Poet's Sketch-book," R. Buchanan, p. 81.)
[7]"My Epitaph."
"Below lies one whose name was traced in sand—He died, not knowing what it was to live;Died while the first sweet consciousness of manhoodAnd maiden thought electrified his soul:Faint beatings in the calyx of the rose.Bewildered reader, pass without a sighIn a proud sorrow! There is life with God,In other Kingdom of a sweeter air;In Eden every flower is blown. Amen."
"Below lies one whose name was traced in sand—He died, not knowing what it was to live;Died while the first sweet consciousness of manhoodAnd maiden thought electrified his soul:Faint beatings in the calyx of the rose.Bewildered reader, pass without a sighIn a proud sorrow! There is life with God,In other Kingdom of a sweeter air;In Eden every flower is blown. Amen."
David Gray("A Poet's Sketch-book," R. Buchanan, p. 81.)
[8]"This strange combination of autumn and spring tints is a very usual sight in Japan.... It is worth noting that in Japan a tree is considered chiefly for its form and tint, not for use.... I heard the cherry-trees were now budding, so I hurried up to take advantage of them, and found them more beautiful than I had ever imagined. There are at least fifty varieties, from delicately tinted white and pink to the richest rose, almost crimson blossom."—Alfred East's "Trip to Japan,"Universal Review, March, 1890.
[8]"This strange combination of autumn and spring tints is a very usual sight in Japan.... It is worth noting that in Japan a tree is considered chiefly for its form and tint, not for use.... I heard the cherry-trees were now budding, so I hurried up to take advantage of them, and found them more beautiful than I had ever imagined. There are at least fifty varieties, from delicately tinted white and pink to the richest rose, almost crimson blossom."—Alfred East's "Trip to Japan,"Universal Review, March, 1890.
[9]"If you look into our gardens annexed to our houses" (says William Harrison in Holinshed's "Chronicles") "how wonderful is their beauty increased, not only with flowers, which Columella callethTerrena Sydera, saying 'Pingit et in varias terrestria, sydera flores,' and variety of curious and costly workmanship, but also with rare and medicinable herbs.... How Art also helpeth Nature in the daily colouring, doubling and enlarging the proportions of our flowers it is incredible to report, for so curious and cunning are our gardeners now in these days that they presume to do, in a manner, what they list with Nature, and moderate her course in things as if they were her superiors. It is a world also to see how many strange herbs, plants, and annual fruits are daily brought unto us from the Indies, Americans, Taprobane, Canary Isles, and all parts of the world, the which, albeit that his respect of the constitutions of our bodies, they do not grow for us (because God hath bestowed sufficient commodities upon every country for her own necessity) yet for delectation's sake unto the eye, and their odoriferous savours unto the nose, they are to be cherished, and God also glorified in them, because they are His good gifts, and created to do man help and service. There is not almost one nobleman, gentleman, or merchant that hath not great store of these flowers, which now also begin to wax so well acquainted with our evils that we may almost account of them as parcel of our own commodities."—(From "Elizabethan England," pp. 26-7.)
[9]"If you look into our gardens annexed to our houses" (says William Harrison in Holinshed's "Chronicles") "how wonderful is their beauty increased, not only with flowers, which Columella callethTerrena Sydera, saying 'Pingit et in varias terrestria, sydera flores,' and variety of curious and costly workmanship, but also with rare and medicinable herbs.... How Art also helpeth Nature in the daily colouring, doubling and enlarging the proportions of our flowers it is incredible to report, for so curious and cunning are our gardeners now in these days that they presume to do, in a manner, what they list with Nature, and moderate her course in things as if they were her superiors. It is a world also to see how many strange herbs, plants, and annual fruits are daily brought unto us from the Indies, Americans, Taprobane, Canary Isles, and all parts of the world, the which, albeit that his respect of the constitutions of our bodies, they do not grow for us (because God hath bestowed sufficient commodities upon every country for her own necessity) yet for delectation's sake unto the eye, and their odoriferous savours unto the nose, they are to be cherished, and God also glorified in them, because they are His good gifts, and created to do man help and service. There is not almost one nobleman, gentleman, or merchant that hath not great store of these flowers, which now also begin to wax so well acquainted with our evils that we may almost account of them as parcel of our own commodities."—(From "Elizabethan England," pp. 26-7.)
[10]Here is Emerson writing to Carlyle of his "new plaything"—a piece of woodland of forty acres on the border of Walden Pond. "In these May mornings, when maples, poplars, walnut, and pine are in their spring glory, I go thither every afternoon and cut with my hatchet an Indian path thro' the thicket, all along the bold shore, and open the finest pictures." (John Morley's Essays, "Emerson," p. 304.) But, as Mr Morley points out, he finds the work too fascinating, eating up days and weeks; "nay, a brave scholar should shun it like gambling, and take refuge in cities and hotels from these pernicious enchantments."
[10]Here is Emerson writing to Carlyle of his "new plaything"—a piece of woodland of forty acres on the border of Walden Pond. "In these May mornings, when maples, poplars, walnut, and pine are in their spring glory, I go thither every afternoon and cut with my hatchet an Indian path thro' the thicket, all along the bold shore, and open the finest pictures." (John Morley's Essays, "Emerson," p. 304.) But, as Mr Morley points out, he finds the work too fascinating, eating up days and weeks; "nay, a brave scholar should shun it like gambling, and take refuge in cities and hotels from these pernicious enchantments."
[11]"I like your Essays," said Henry the Third to Montaigne. "Then, sire, you will like me. I am my Essays."
[11]"I like your Essays," said Henry the Third to Montaigne. "Then, sire, you will like me. I am my Essays."
[12]Time does much for a garden. There is a story of an American plutocrat's visit to Oxford. On his tour of the Colleges nothing struck him so much as the velvety turf of some of the quadrangles. He asked for the gardener, and made minute enquiries as to the method of laying down and maintaining the grass. "That's all, is it?" he exclaimed, when the process had been carefully described. "Yes, sir," replied the gardener with a twinkle in his eye, "That's all, but we generally leave it three or four centuries to settle down!"
[12]Time does much for a garden. There is a story of an American plutocrat's visit to Oxford. On his tour of the Colleges nothing struck him so much as the velvety turf of some of the quadrangles. He asked for the gardener, and made minute enquiries as to the method of laying down and maintaining the grass. "That's all, is it?" he exclaimed, when the process had been carefully described. "Yes, sir," replied the gardener with a twinkle in his eye, "That's all, but we generally leave it three or four centuries to settle down!"
[13]"There is no garden well contrived, but that which hath an Enoch's walk in it."—Sir W. Waller.
[13]"There is no garden well contrived, but that which hath an Enoch's walk in it."—Sir W. Waller.
[14]"Field and Hedgerow," p. 27.
[14]"Field and Hedgerow," p. 27.
[15]See "The Praise of Gardens."
[15]See "The Praise of Gardens."
[16]"Archæological Journal," vol. v. p. 295.
[16]"Archæological Journal," vol. v. p. 295.
[17]"Early Drawings and Illuminations." Birch and Jenner. (Bagster, 1879, p. 134.)"Gardens.19 D. i. ff. I. etc.20 A. xvii. f. 7b.20 B. ii. f. 57.14 803 f. 63.18 851 f. 182.18 852 f. 3. b.26667 f. i.Harl. 4425. f. 12. b.Kings 7. f. 57.6 E. ix. f. 15. b.14 E. vi. f. 146.15 E. iii. f. 122.15 E. vi. f. 146.16 G. v. f. 5.17 F. i. f. 149b.19 A. vi. f. 2. 109.19 C. vii. f. i.20 C. v. ff. 7.etc.Eg. 2022. f. 36.b.Harl. 4425. f. 160b.19720.19 A. vi. f. 109."
[17]"Early Drawings and Illuminations." Birch and Jenner. (Bagster, 1879, p. 134.)
"Gardens.19 D. i. ff. I. etc.20 A. xvii. f. 7b.20 B. ii. f. 57.14 803 f. 63.18 851 f. 182.18 852 f. 3. b.26667 f. i.Harl. 4425. f. 12. b.Kings 7. f. 57.6 E. ix. f. 15. b.14 E. vi. f. 146.15 E. iii. f. 122.15 E. vi. f. 146.16 G. v. f. 5.17 F. i. f. 149b.19 A. vi. f. 2. 109.19 C. vii. f. i.20 C. v. ff. 7.etc.Eg. 2022. f. 36.b.Harl. 4425. f. 160b.19720.19 A. vi. f. 109."
"Gardens.19 D. i. ff. I. etc.20 A. xvii. f. 7b.20 B. ii. f. 57.14 803 f. 63.18 851 f. 182.18 852 f. 3. b.26667 f. i.Harl. 4425. f. 12. b.Kings 7. f. 57.6 E. ix. f. 15. b.14 E. vi. f. 146.15 E. iii. f. 122.15 E. vi. f. 146.16 G. v. f. 5.17 F. i. f. 149b.19 A. vi. f. 2. 109.19 C. vii. f. i.20 C. v. ff. 7.etc.Eg. 2022. f. 36.b.Harl. 4425. f. 160b.19720.19 A. vi. f. 109."
[18]"The Garden."—Walther Howe.
[18]"The Garden."—Walther Howe.
[19]"English scenery of that special type which we call homely, and of which we are proud as only to be found in England, is, indeed, the production of many centuries of that conservatism which has spared the picturesque timber, and of that affectionate regard for the future which has made men delight to spend their money in imprinting on the face of Nature their own taste in trees and shrubs." ("Vert and Venery," byViscount Lymington;Nineteenth Century, January, 1891.)
[19]"English scenery of that special type which we call homely, and of which we are proud as only to be found in England, is, indeed, the production of many centuries of that conservatism which has spared the picturesque timber, and of that affectionate regard for the future which has made men delight to spend their money in imprinting on the face of Nature their own taste in trees and shrubs." ("Vert and Venery," byViscount Lymington;Nineteenth Century, January, 1891.)
[20]Miss Edwards (and I quote from her edition of Young's "Travels in France," p. 101) has a note to the effect that the Mr Brown here referred to is "Robert Brown, of Markle, contributor to theEdinburgh Magazine, 1757-1831." Yet, surely this is none other than Mr "Capability" Brown, discoverer of English scenery, reputed father of the English garden!
[20]Miss Edwards (and I quote from her edition of Young's "Travels in France," p. 101) has a note to the effect that the Mr Brown here referred to is "Robert Brown, of Markle, contributor to theEdinburgh Magazine, 1757-1831." Yet, surely this is none other than Mr "Capability" Brown, discoverer of English scenery, reputed father of the English garden!
[21]Lowell's "Ode to Fielding."
[21]Lowell's "Ode to Fielding."
[22]"MrEvelynhas a pleasant villa atDeptford," writes Gibson, "a fine garden for walks and hedges (especially his holly one which he writes of in his 'Sylva') ... In his garden he has four large round philareas, smooth-clipped, raised on a single stalk from the ground, a fashion now much used.Part of his garden is very woody and shady for walking; but his garden not being walled, has little of the best fruits."
[22]"MrEvelynhas a pleasant villa atDeptford," writes Gibson, "a fine garden for walks and hedges (especially his holly one which he writes of in his 'Sylva') ... In his garden he has four large round philareas, smooth-clipped, raised on a single stalk from the ground, a fashion now much used.Part of his garden is very woody and shady for walking; but his garden not being walled, has little of the best fruits."
[23]This remark of Temple's as to the small importance the flower-beds had in the mind of the gardener of his day, is significant: as indicating the different methods employed by the ancient and modern gardener. It was not that he was not "pleased with the care" of flowers, but that these were not his chiefest care; his prime idea was to get broad, massive, well-defined effects in his garden generally. Hence the monumental style of the old-fashioned garden, the carefully-disposed ground, the formality, the well-considered poise and counter-poise, the varying levels and well-defined parts. And only inwoven, as it were, into the argument of the piece, are its pretty parts, used much as the jewellery of a fair woman. I should be sorry to be so unjust to the modern landscape gardener as to accuse him of caring over-much for flowers, but of his garden-device generally one may fairly say it has no monumental style, no ordered shape other than its carefully-schemeddisorder. It is not a masculine affair, but effeminate and niggling; a little park-scenery, curved shrubberies, wriggling paths, emphasised specimen plants, and flower-beds of more or less inane shape tumbled down on the skirts of the lawn or drive, that do more harm than good to the effect of the place, seen near or at a distance. How true it is that to believe in Art one must be an artist!
[23]This remark of Temple's as to the small importance the flower-beds had in the mind of the gardener of his day, is significant: as indicating the different methods employed by the ancient and modern gardener. It was not that he was not "pleased with the care" of flowers, but that these were not his chiefest care; his prime idea was to get broad, massive, well-defined effects in his garden generally. Hence the monumental style of the old-fashioned garden, the carefully-disposed ground, the formality, the well-considered poise and counter-poise, the varying levels and well-defined parts. And only inwoven, as it were, into the argument of the piece, are its pretty parts, used much as the jewellery of a fair woman. I should be sorry to be so unjust to the modern landscape gardener as to accuse him of caring over-much for flowers, but of his garden-device generally one may fairly say it has no monumental style, no ordered shape other than its carefully-schemeddisorder. It is not a masculine affair, but effeminate and niggling; a little park-scenery, curved shrubberies, wriggling paths, emphasised specimen plants, and flower-beds of more or less inane shape tumbled down on the skirts of the lawn or drive, that do more harm than good to the effect of the place, seen near or at a distance. How true it is that to believe in Art one must be an artist!
[24]Nonsuch had its wilderness of ten acres.
[24]Nonsuch had its wilderness of ten acres.
[25]Nineteenth Century Magazine, July, 1890.
[25]Nineteenth Century Magazine, July, 1890.
[26]With regard to this remark, we have to note a certain amount of French influence throughout the reigns of the Jameses and Charleses. Here is Beaumont, "gardener to James II.;" and we hear also of André Mollet, gardener to James I.; also that Charles II. borrowed Le Nôtre to lay out the gardens of Greenwich and St James' Park.
[26]With regard to this remark, we have to note a certain amount of French influence throughout the reigns of the Jameses and Charleses. Here is Beaumont, "gardener to James II.;" and we hear also of André Mollet, gardener to James I.; also that Charles II. borrowed Le Nôtre to lay out the gardens of Greenwich and St James' Park.
[27]The gardens at Wilton are exceedingly beautiful, and contain noble trees, among which are a group of fine cedars and an ilex beneath which Sir Philip Sidney is supposed to have reclined when he wrote his "Arcadia" here. The Italian garden is one of the most beautiful in England.
[27]The gardens at Wilton are exceedingly beautiful, and contain noble trees, among which are a group of fine cedars and an ilex beneath which Sir Philip Sidney is supposed to have reclined when he wrote his "Arcadia" here. The Italian garden is one of the most beautiful in England.
[28]Of Berkeley, Evelyn writes: "For the rest the forecourt is noble, so are the stables; and, above all, the gardens, which are incomparable by reason of the inequality of the ground, and a prettypiscina. The holly-hedges on the terrace I advised the planting of."
[28]Of Berkeley, Evelyn writes: "For the rest the forecourt is noble, so are the stables; and, above all, the gardens, which are incomparable by reason of the inequality of the ground, and a prettypiscina. The holly-hedges on the terrace I advised the planting of."
[29]Houghton was built by Sir R. Walpole, between 1722 and 1738. The garden was laid out in the stiff, formal manner by Eyre, "an imitator of Bridgman," and contained 23 acres. The park contains some fine old beeches. More than 1000 cedars were blown down here in February 1860.
[29]Houghton was built by Sir R. Walpole, between 1722 and 1738. The garden was laid out in the stiff, formal manner by Eyre, "an imitator of Bridgman," and contained 23 acres. The park contains some fine old beeches. More than 1000 cedars were blown down here in February 1860.
[30]Thomas Whately's "Observations on Modern Gardening," was published in 1770, fifteen years before Walpole's "Essay on Modern Gardening." Gilpin's book "On Picturesque Beauty," though published in part in 1782, belongs really to the second phase of the Landscape School. Shenstone's "Unconnected Thoughts on the Garden" was published in 1764, and is written pretty much from the standpoint of Kent. "An Essay on Design in Gardening," by G. Mason, was published in 1795.
[30]Thomas Whately's "Observations on Modern Gardening," was published in 1770, fifteen years before Walpole's "Essay on Modern Gardening." Gilpin's book "On Picturesque Beauty," though published in part in 1782, belongs really to the second phase of the Landscape School. Shenstone's "Unconnected Thoughts on the Garden" was published in 1764, and is written pretty much from the standpoint of Kent. "An Essay on Design in Gardening," by G. Mason, was published in 1795.
[31]Loudon calls this School "Repton's," the "Gardenesque" School, its characteristic feature being "the display of the beauty of trees and other plantsindividually."
[31]Loudon calls this School "Repton's," the "Gardenesque" School, its characteristic feature being "the display of the beauty of trees and other plantsindividually."
[32]A candid friend thus writes to Repton: "You may have perceived that I am rathertoo muchinclined to the Price and Knightparty, and yet I own to you that I have been often so much disgusted by the affected and technical language of connoisseurship, that I have been sick of pictures for a month, and almost of Nature, when the same jargon was applied to her." (Repton, p. 232.)
[32]A candid friend thus writes to Repton: "You may have perceived that I am rathertoo muchinclined to the Price and Knightparty, and yet I own to you that I have been often so much disgusted by the affected and technical language of connoisseurship, that I have been sick of pictures for a month, and almost of Nature, when the same jargon was applied to her." (Repton, p. 232.)
[33]"The Praise of Gardens," pp. 185-6.
[33]"The Praise of Gardens," pp. 185-6.
[34]Ibid., p. 296.
[34]Ibid., p. 296.
[35]This is a little unpatriotic of Loudon to imply that theEnglishhad no garden-style till the 18th century, but one can stand a great deal from Loudon.
[35]This is a little unpatriotic of Loudon to imply that theEnglishhad no garden-style till the 18th century, but one can stand a great deal from Loudon.
[36]For which reason, I suppose, Mr Robinson, in his model "Non-geometrical Gardens" (p. 5), humbly skirts his ground with a path which as nearly represents a tortured horse-shoe as Nature would permit; and his trees he puts in a happy-go-lucky way, and allows them to nearly obliterate his path at their own sweet will! No wonder he does not fear Nature's revenge, where is so little Art to destroy!
[36]For which reason, I suppose, Mr Robinson, in his model "Non-geometrical Gardens" (p. 5), humbly skirts his ground with a path which as nearly represents a tortured horse-shoe as Nature would permit; and his trees he puts in a happy-go-lucky way, and allows them to nearly obliterate his path at their own sweet will! No wonder he does not fear Nature's revenge, where is so little Art to destroy!
[37]These notes make no pretence either at originality or completeness. They represent gleanings from various sources, combined with personal observations on garden-craft from the architect's point of view.—J. D. S.
[37]These notes make no pretence either at originality or completeness. They represent gleanings from various sources, combined with personal observations on garden-craft from the architect's point of view.—J. D. S.
[38]"All rational improvement of grounds is necessarily founded on a due attention to thecharacterandsituationof the place to be improved; theformerteaches what is advisable, thelatterwhat is possible to be done. Thesituationof a place always depends on Nature, which can only be assisted, but cannot be entirely changed, or greatly controlled byArt; but thecharacterof a place is wholly dependent onArt; thus the house, the buildings, the gardens, the roads, the bridges, and every circumstance which marks the habitation of man must be artificial; and although in the works of art we may imitate the forms and graces of Nature, yet, to make them truly natural, always leads to absurdity" (Repton, p. 341).
[38]"All rational improvement of grounds is necessarily founded on a due attention to thecharacterandsituationof the place to be improved; theformerteaches what is advisable, thelatterwhat is possible to be done. Thesituationof a place always depends on Nature, which can only be assisted, but cannot be entirely changed, or greatly controlled byArt; but thecharacterof a place is wholly dependent onArt; thus the house, the buildings, the gardens, the roads, the bridges, and every circumstance which marks the habitation of man must be artificial; and although in the works of art we may imitate the forms and graces of Nature, yet, to make them truly natural, always leads to absurdity" (Repton, p. 341).
[39]Not so thinks the author of "The English Flower Garden":—"Imagine the effect of a well-built and fine old house, seen from the extremity of a wide lawn, with plenty of trees and shrubs on its outer parts, and nothing to impede the view of the house or its windows but a refreshing carpet of grass. If owners of parks were to consider this point fully, and, as they travel about, watch the effect of such lawns as remain to us, and compare them with what has been done by certain landscape-gardeners, there would shortly be, at many a country-seat, a rapid carting away of the terrace and all its adjuncts." Marry, this is sweeping! But Repton has some equally strong words condemning the very plan our Author recommends: "In the execution of my profession I have often experienced great difficulty and opposition in attempting to correct the false and mistaken taste for placing a large house in a naked grass field, without any apparent line of separation between the ground exposed to cattle and the ground annexed to the house, which I consider as peculiarly under the management of art."This line of separation being admitted, advantage may be easily taken to ornament the lawn with flowers and shrubs, and to attach to the mansion that scene of 'embellished neatness' usually called a pleasure-ground" (Repton, p. 213. See also No. 2 of Repton's "Objections," given on p. 116).
[39]Not so thinks the author of "The English Flower Garden":—"Imagine the effect of a well-built and fine old house, seen from the extremity of a wide lawn, with plenty of trees and shrubs on its outer parts, and nothing to impede the view of the house or its windows but a refreshing carpet of grass. If owners of parks were to consider this point fully, and, as they travel about, watch the effect of such lawns as remain to us, and compare them with what has been done by certain landscape-gardeners, there would shortly be, at many a country-seat, a rapid carting away of the terrace and all its adjuncts." Marry, this is sweeping! But Repton has some equally strong words condemning the very plan our Author recommends: "In the execution of my profession I have often experienced great difficulty and opposition in attempting to correct the false and mistaken taste for placing a large house in a naked grass field, without any apparent line of separation between the ground exposed to cattle and the ground annexed to the house, which I consider as peculiarly under the management of art.
"This line of separation being admitted, advantage may be easily taken to ornament the lawn with flowers and shrubs, and to attach to the mansion that scene of 'embellished neatness' usually called a pleasure-ground" (Repton, p. 213. See also No. 2 of Repton's "Objections," given on p. 116).
[40]As an instance of how much dignity a noble house may lose by a meanly-planned drive, I would mention Hatfield.
[40]As an instance of how much dignity a noble house may lose by a meanly-planned drive, I would mention Hatfield.
[41]Milner's "Art and Practice of Landscape-Gardening," pp. 13, 14.
[41]Milner's "Art and Practice of Landscape-Gardening," pp. 13, 14.
[42]"One deep recess, one bold prominence, has more effect than twenty little irregularities." "Every variety in the outline of a wood must be aprominenceor arecess" (Repton, p. 182).
[42]"One deep recess, one bold prominence, has more effect than twenty little irregularities." "Every variety in the outline of a wood must be aprominenceor arecess" (Repton, p. 182).
[43]See accompanying plans.
[43]See accompanying plans.
[44]One of the finest and weirdest cedar-walks that I have ever met with is that at Marwell, near Owslebury in Hampshire. Here you realise the wizardry of green gloom and sense of perfect seclusion. It was here that Henry VIII. courted one of his too willing wives.
[44]One of the finest and weirdest cedar-walks that I have ever met with is that at Marwell, near Owslebury in Hampshire. Here you realise the wizardry of green gloom and sense of perfect seclusion. It was here that Henry VIII. courted one of his too willing wives.
[45]As the walls afford valuable space for the growth of the choicer kinds of hardy fruits, the direction in which they are built is of considerable importance. "In the warmer parts of the country, the wall on the north side of the garden should be so placed as to face the sun at about an hour before noon, or a little to east of south; in less favoured localities it should be made to face direct south, and in the still more unfavourable districts it should face the sun an hour after noon, or a little west of south. The east and west walls should run parallel to each other, and at right angles to that on the north side."
[45]As the walls afford valuable space for the growth of the choicer kinds of hardy fruits, the direction in which they are built is of considerable importance. "In the warmer parts of the country, the wall on the north side of the garden should be so placed as to face the sun at about an hour before noon, or a little to east of south; in less favoured localities it should be made to face direct south, and in the still more unfavourable districts it should face the sun an hour after noon, or a little west of south. The east and west walls should run parallel to each other, and at right angles to that on the north side."
[46]"Embower a cottage thickly and completely with nothing but roses, and nobody would desire the interference of another plant."—Leigh Hunt.
[46]"Embower a cottage thickly and completely with nothing but roses, and nobody would desire the interference of another plant."—Leigh Hunt.
[47]Lord Beaconsfield adds macaws to the ornament of his ideal garden. "Sir Ferdinand, when he resided at Armine, was accustomed to fill these pleasure grounds with macaws and other birds of gorgeous plumage." But Lord Beaconsfield is Benjamin Disraeli—a master of the ornate, a bit of a dandy always. In Italy, too, they throw in porcupines and ferrets for picturesqueness. In Holland are our old friends the tin hare and guinea-pigs, and the happy shooting boy, in holiday attire, painted to the life.
[47]Lord Beaconsfield adds macaws to the ornament of his ideal garden. "Sir Ferdinand, when he resided at Armine, was accustomed to fill these pleasure grounds with macaws and other birds of gorgeous plumage." But Lord Beaconsfield is Benjamin Disraeli—a master of the ornate, a bit of a dandy always. In Italy, too, they throw in porcupines and ferrets for picturesqueness. In Holland are our old friends the tin hare and guinea-pigs, and the happy shooting boy, in holiday attire, painted to the life.
[48]See P. G. Hamerton's "Sylvan Year," p. 112.
[48]See P. G. Hamerton's "Sylvan Year," p. 112.
[49]See Myres' "Wordsworth," English Men of Letters Series, p. 67.
[49]See Myres' "Wordsworth," English Men of Letters Series, p. 67.
[50]"Bacon," English Men of Letters Series, R. W. Church.
[50]"Bacon," English Men of Letters Series, R. W. Church.
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