A TEA-HOUSEA TEA-HOUSE
There is a delightful imaginary intimacy that seemingly exists between we garden lovers who live in the twentieth century and those of early days. So closely are we connected by a common band of sympathy that we eagerly scan their books to glean here and there some important bit of garden lore that can be introduced into our work of to-day. It is this pleasant mingling of old and new-world gardens that gives to present-day designs such a delightful atmosphere.
One of the old-time floriculturists, John Lyle, tells us in his old-fashioned way, about the flowers that bloomed ages before our grand-dames were born. "Gentlemen," he says, "what floure like you best in all this border? Here be fine roses, sweete violets, fragrant primroses, gille floures, carnations, sops of wine, sweete John, and what may please you at sight." Surely we see in retrospect, the gardens of that early day, and we comemore and more to realize that all through the ages, the hand of Man has fashioned nothing more beautiful than a garden of flowers. The most famous poets have not found any more ideal trysting spot in which to place their lovers.
Each individual part of the flower garden has its own distinctive charm. It lies not solely with the flowers that bloom so profusely in the beds nor with the marble fragments, for the romance of it all is centered in the little summer house, as it was quaintly named by our ancestors in the long ago. In these little tea houses, built in a retired part of the garden, the mistress loved to spend a pleasant summer afternoon, seated inside knitting flower thoughts into a shapely bag or reading some delightful book, which dropped from her hand, as she sat dreamily watching the unfolding of some favorite flower.
Let us enter one of these gardens, rich in its summer garb, walk slowly down the path, stopping now and again to view some bud slowly unfold its petals one by one, disclosing a new specimen to be added to the ever-increasing number that are comprised in the floral scheme, and waving a welcome as it is tossed to and fro by every passing breeze.
Over there against the white paling fence stands the stiff hollyhock nodding his satiny head to greet the dainty heliotrope who glances coquettishly up to meet his eye. Nearby is a dialetrea or bleeding heart, the pet of the little ones, who pluck them to form tiny boats with snow white sails to float down the lily pond. Bursting into bloom behind the stiff box border is the old-time "piny," sending bits of color into the sober green.
None of the old Colonial gardens were considered complete without an ever varying assortment of bloom. There were the Sweet Williams, Bouncing Bet, and perky little Johnny-jump-up, sending greetings to his comrades nearby. Flowers are everywhere, they peer out at us from hidden corners, swing their heads in very ecstasy of enjoyment of their being.
Simplicity was the key-note in the construction of those summer houses that came into existence during the latter part of the seventeenth century. They stand for the first type of garden furniture made in our country, coming into vogue after the close of the grim struggle for existence made by our Puritan forbears. Then when the tide turned, and money flowed into the colonies, houseowners hadmore time to devote to garden culture. Behind the large Colonial houses sprang into existence gardens devoted to flowers, the owners doing the best they could with the material at hand. These delightful little plots secluded from the world outside by high paling fences were the homes of the old-fashioned flowers, many of them descendants of the originals, brought over in the ships that first touched our shores.
They were not like the twentieth-century ones constructed of marble or concrete clothed with vines and standing in a wealth of up-to-date blooms, showing slender marble columns and carved capitals supporting the marble roof.
Rather are they covered with plain, every-day vines, such as the Dutchman's Pipe with its heavy leaving, clambering roses and the Bitter Sweet or Roxbury Waxwork, whose drooping bunches of yellow and red poke their heads through the lattice work, making a bit of bright color all through the winter months. This when the ground is covered with snow livens up the surroundings. On either side are planted a wealth of timely flowers, these include the Sweet William, the Hooded Larkspur, and the many-colored Phlox.
Many of these little garden houses show such a variety of form that they are interesting, fitting into their surroundings as if they had always been there. Some are square, formed like a large box, depending for their picturesqueness on their coverings of vines. Others are round, and still again we find oblong summer houses, each one fitted up with seats and sometimes a rustic table.
Occasionally, we come upon a more pretentious one that is two stories in height. They were planned in the early nineteenth century, some of these are still standing and among them we find that of Elias Haskett Derby, designed by Samuel McIntyre, Salem's noted architect and wood-carver. For years it stood on the grounds of the summer home of Mr. Derby and to-day is so well preserved that it seems as if it had been recently built. Exquisite carving is a feature of this particular tea house, where rural images top the roof.
It is only in the gardens of the rich, that elaborate tea houses are found, simple designs grace the little gardens and are in harmony with their surroundings. The rustic summer house has its own mission to fulfill. Its cost can be determined by conditions. Some are finished in elaborately decorativedesigns while others show plain treatment.
The best kind of wood to be used for this purpose is the red cedar which has wonderful lasting qualities. It is more expensive than the locust but out-wears any wood on the market. Great care should be taken that the supports be placed deep enough to avoid throwing by the heavy winter frost. Holes should be dug at least four feet deep, and squares of stone or cement pounded into the bottom to prevent its coming in contact with the earth and rotting. This makes a solid foundation, and durable. Do not have the roof made flat, so that water can stand upon it and rot it, but raise it slightly and either shingle or thatch it.
This last is an old-time handicraft that has recently been revived. Following the old English rule, reeds are more endurable, while straw is admissible. An advantage of its use is that it grows handsomer with age. In its second year it has collected moss, weeds and plants, and these, matted down and weather-beaten, give it the hue of a gray lichen. If properly treated it will last for years.
STEPPING-STONES IN A GRASS PATHSTEPPING-STONES IN A GRASS PATH
One should, if possible, when planning the garden, include a summer house. There is no moreenjoyable feature that can be constructed on the grounds. Its design, size, situation and type, must correspond with the period of the garden. A formal lay-out should, in order to be correct, receive entirely different treatment in its setting from the Italian, while the rambling depends upon simpler characteristics to produce correct results. Rustic tea houses fit into this project appropriately. They would be entirely incongruous if placed in Italian gardens elaborate in their plan and full of wonderful bits of marble fragments transplanted from foreign lands.
Fortunately for us, there are so many different types of gardens that one is not continually finding a repetition. Garden houses, covered with bark, fit into simple plans, such as the rambling and the wild gardens, their rustic effect being in harmony with the flowers and beds.
It is one thing to plan a summer house but quite another to pick out a suitable situation. It should not be placed in the heart of the flowers more especially where there are tall blossoms. Let the beds in the foreground be low and show quiet colors, shading the height and brightness as they go farther afield, the most conspicuous being usedfor the extreme edge. Here, like a beautiful picture, they fit into the landscape and produce correct effects.
Level stretches do not always bring about right results. If your ground slopes to the garden edge why not design a rustic tea house to fit into the hillside? Should you visit it of a clear afternoon, seat yourself on the wooden settle and glance around you, you will be delighted with the view obtained. Below is the garden rolled out like a carpet brightly patterned at your feet, smooth stretches of lawn between rest the eyes as they gaze off to the horizon when the blue of the sky seems to melt into the masses of waving bloom.
Do not start this feature of the garden unless you have first planned situation, size and cost, otherwise you will be disappointed, and may feel it is more expensive than you wished. If you do not care to bed it underneath, you will be sorry. Every house of this sort should have a hard ashes or cement foundation in order to keep out the dampness. This is a serious fault which if not carefully watched results in quick rotting of the wood and constant expense. It is better to start right and in the end it will cost less. Posts used for supportsshould be made of cedar or locust, driven four feet into the ground and resting on stone supports, used as preservatives. They can be elaborately designed or simple in finish and if plenty of air and light are wished for, trellis supports can be used, but if it demands shade, shingles or canvas painted, are advisable, the former better for rounded effects and the latter when a flat surface is used.
Marble is used prominently in Italian gardens, whose elaborate setting demands striking effects. Give the tea house a cover of soft green vines, dotted here and there with a bit of color and it will be a joy forever, taking on a dignity that is in keeping with its surroundings. Cement, no matter where it is used, is always effective. In coloring and lines it seemingly fits into the elaborate landscape scheme and it improves with age. There is an advantage in the use of cement, in that it costs nothing for repairs, is fireproof, does not collect vermin, and is never shabby. With its clinging vine cover, it is a desirable material for use in the construction of tea houses when wood and marble are not suitable.
There is a romantic charm in vine-clad tea houses. The clinging vine lends a picturesquenessto the slender columns and the slanting roof emphasizes the beauty of it all.
There are so many decorative vines that are suitable for its use that it would be impossible to name them all.
For marble, delicate, tender climbers are the best. For concrete a larger leaf can be used to give more stable effects, while for rustic tea houses, the large, hardy vines and stronger climbers are more suitable. Each one has its own use, and appears at its best in congenial environment. The tiny canary-bird vine would make little show if allowed to clamber over rustic supports, while the Boston or Japanese ivy are especially adapted for this treatment. This is on account of the small, flat leaf that clings to the side, helping out the design without a deep massing of leaves.
LILY PONDS IN A FORMAL GARDENLILY PONDS IN A FORMAL GARDEN
Some summer houses depend upon hardy vines for their cover and others on tender climbers whose delicate tendrils wind in and out clouding but not hiding the exterior coloring. It is the wise man who is able to provide a suitable over-spread for houses of this description. It must be remembered that it is not the cover alone but the planting that surrounds it that aids in the picturesque effect.There is as much need of careful thought here as there would be in any part of the scheme. For right coloring, height, and time of blossoming help or mar the plan.
There is as much difference in the growth of vines as there is in children. Some to be at their best require a very rich soil, while others will do equally well if it is poorer. The important thing, if you wish successful results, is to give them plenty of food, plenty of water and look out for a proper insecticide, in order not to retard their growth. A general rule that is permissible for almost any grounds is to dig a ditch from three to four feet deep and put in the bottom a foot of rotted manure. This can better be attended to in the fall, leaving time for it to get well soaked into the ground and ripen before planting. Fill in alternate layers of soil and manure until the trench is even with the ground. In clay soil, it is better in order to lighten it to mix in a little sand.
For a rustic summer house, where heavy planting is needed, a honeysuckle is effective. The scarlet or Sempervirens is a very decorative variety and this differs greatly from the Japanese one, bearing tubular scarlet flowers that continue inblossom all summer. Of the many varieties this is the freest and the best. Its leaves are a blueish green which make a pleasing contrast with the coral color of the flower.
The Clematis is always effective and is the best vine of medium growth in existence. Its small, white, star-shaped flowers, deliciously fragrant, cover the vine completely in August. The Japanese Clematis or Paniculata is most attractive. It prefers a sunny position, the foliage is handsome and at the end of August it bursts into a wonderful mass of fragrant, pure white, star-like flowers that last nearly a month.
For shady places, the Helix or English ivy is advisable. This well-known, small-leafed ivy is perfectly hardy in this section and is much used for covering the ground in shady places where grass refuses to grow. Young growth sometimes gets winter killed, but this is due to sunburn rather than frost.
For tea houses painted white and for concrete, wisteria takes a prominent place. It grows equally well in city and country, being able to withstand the smoke of cities. Of these the Multijuga loose cluster is advisable. It is not so strong a grower asthe Chinese varieties but distinguished from them by long, loose clusters of purple flowers sometimes obtaining a length of two feet.
The Crimson Glory Grape Vine, Coignetiae, is a strong grower, showing large, heart-shaped leaves, ten inches long, deep rich green on top and bright yellow beneath, which assume a brilliant scarlet in autumn. The grapes are black and form a pleasing contrast to the bright colors of the leaves.
The Canary Bird Vine is suitable for either this kind of a tea house or a marble one. It is a beautiful, rapid, annual grower and when in blossom, the charming little canary-colored blooms bear a fancied resemblance to a bird with wings half expanded. Do not forget the Cardinal Climber which is a cross between the Cyprus Vine and the Star Glory. It attains a height of thirty feet or more with a beautiful form like laciniated foliage and is literally covered with a blaze of circular fiery cardinal red flowers from midsummer until frost. The flowers are about one and one-half inch in diameter and are borne in clusters from five to seven blossoms each. Wherever it has been grown it has attracted favorable comments. It delights in a warm sunshiny situation and good soil.
The Kudzu Vine or Peuraria Thunbergiana is very popular. It came from Japan and is still rare. Its flowers are large clusters similar to a white Hydrangea and when in flower during July and August make a wonderful display. It is one of the best of the flowering vines to plant against a wall as it clings naturally to any rough surface.
The plants selected for either side of the tea house need as much care in choosing right colors as do the vines.
STONE STEPS ATTRACTIVELY PLANNEDSTONE STEPS ATTRACTIVELY PLANNED
The air was laden with the sweet fragrance of flowers. They wafted a delightful welcome to the hardy explorers, who, worn with the long voyage, viewed for the first time the rocky shores of New England. Their soothing influence brought heart to the wearied men, as they revelled in the spicy odors that brought in their train pleasant thoughts of the wonderful gardens they had left behind them. From the sandy coast of Florida to the bleak New England shores they felt its enticing power. So pungent was the perfume, that it touched the heart of Barlow, one of the commanders of Raleigh's expedition who wrote on landing on the newly discovered shore, "We smelt so sweet and strong a smell, as if we had been in the midst of some delicate garden. The woods were not such as we find in Europe, barren and fruitless, but the highest and reddest cedars, pines, cypresses, and many others of excellent quality. Of grapes wefound a plenty climbing over every shrub and tree down to the waters very edge. I think in all the world there is not the like in abundance."
Among the earliest settlers, came a colony of Spaniards choosing for their home the sunny shores of Florida. Here in the heart of the woodland they made clearings, laying out extensive grounds that followed no set plan, but with semblance of the old-world garden. Here they planted for coolness and shade, vines and trees, laid out their grounds with walks, paved like mosaic with vari-colored stones. In these gardens no semi-tropical plants, such as abounded on every side, were planted. It has always been man's way when warring with the wilderness that lay beyond his door, to gather into the enclosure flowers and plants that had been dear to his heart in his far-away native land, to re-establish the atmosphere of his old home in new surroundings.
The colonists who settled on the southern shores of Virginia, were men of rank, wealthy men, who had left stately homes to settle in this unknown land. In the lay-out of their gardens they introduced the Elizabethean style of floriculture, following the fashion of the English gardens of thatday. These old gardens showed terraces, steps, leading from walk to walk, paths laid at right angles, through which one walked to view the spaces intricately designed with "knotted" beds and mazes, each one of which conformed to details in the buildings of their stately homes.
There were the first steps laid out in gardens in America, a novel feature that has been evolved into elaborate designs with the passing of the years. To-day no garden is complete that does not show some form of steps or terrace.
Rockeries have come into vogue not only in large, elaborate garden plots but in simple little home grounds. They are approached by steps of stone that correspond with the rough, rural aspect of this feature of garden culture. Shy wild flowers peep timidly out from their homes between the crevices of the rock. Here in the early spring we find the cup-shaped crocus with its yellow tongue nestled contentedly in among the brown furred fern fronds, that soon will unfurl in dainty loveliness. Leading from the steps are grass banks and low walks, surrounding the rockery and affording pleasant promenades, from which to view the garden in its entirety.
Like every other plan contrived by man, the garden step should be fashioned to fit into its proper place, adding and not detracting from the general picturesqueness. It depends upon the personality of the creator as to its success, for steps while seemingly a minor detail, can add or detract from a garden's beauty materially.
One should never swerve from the thought that practicability should be the motive in planning stepping stones to connect different levels of your garden. They should not be added just for appearance sake, any more than one should wear a showy gown to attract attention. They should carry out some well-thought-out plan.
It would be bad taste to introduce rustic steps into a formal garden, as much so as it would to place delicately wrought slabs of marble in the heart of a thicket. One should, that is if they wish to excel other creators in the introduction of original ideas, think out each individual part of the ground assigned for garden purposes and determine where each feature can make the best showing. It is then and then only that we come to a realizing sense not only of the kind of material that should be used but the shape and the setting.
There should be a definite purpose in the use of this particular feature and the most important one is that it should be so arranged that one can reach different levels easily. There should be no precipitous pitch that makes one feel while ascending that they are performing tiresome gymnastic feats. This necessitates that they should be constructed on a gradual incline, thus making the ascent so easy that one is hardly conscious they are walking always upward until they have reached the top, and stand on level ground. This is often not enough considered and yet is most important.
In laying the stepping stones, there should be definite proportions thought out between the risers, breadth of the treads and the height between. Any variation would produce awkward results. Great care should be taken in choosing slabs either of stone or marble that are of the same size.
If the steps connect different parts of the garden scheme or lead to a rock garden, they should be cunningly introduced into the side of the ascent, placed so that they will add to the picturesqueness of the effect. They should break the hillside pleasingly, so that when completed they will form a pleasant picture, delightful for the eye to gazeupon. More than this, there should be planting, not only between the risers but on either side, and this requires careful thought, for a stately hollyhock rearing its gorgeous stock of rich coloring would be entirely out of place while delicate ferns or humble rock plants emphasize the desired effect.
If the height of your step should be low, then risers, six inches in height would be in good form, and the treads in order to correspond must be twelve and a half inches in width. Should, however, five inches be the height needed, then an additional inch and a half should be added to the treads. This point is such an important one that garden owners and landscape architects should see that it is properly carried out, if they wish to get the right results.
A FOUNTAIN THAT SERVES AS A BACKGROUND FOR A LILY PONDA FOUNTAIN THAT SERVES AS A BACKGROUND FOR A LILY POND
Ramping steps, if successfully developed, brings about an additional ease in mounting. This can be accomplished by placing the tread so that it shall imperceptibly slope downward. This is not an easy matter to accomplish successfully. It requires much care, so that the steps shall not slope too noticeably and yet enough to add to the comfort of the garden lover who walks from path to pathusing the steps to aid him in reaching the upper level of the ground. This idea of ramping is not original, for it has been carried out in the old Italian gardens for centuries, but it is only within recent years that it has been successfully developed by landscape gardeners in our country.
Two important things connected with these stairways are ease and comfort. There is no doubt but within the last few years, marvels have been accomplished by introducing them into steep hillsides. In this way they connect the lower level and the terrace, making it practical to develop unused land for flower purposes.
The placing of steps cannot be determined by cast-iron rules, rather should good taste predominate. Nothing can give such an awkward look to your garden or terrace as a series of narrow, cramped stairs. If, however, you should in the same place introduce a flight ample in proportion, then even if it is a small space there will be imparted to it an agreeable air of breadth.
Be sure that each step should extend farther to the side than the one above it. They should be rectangular so that the outline of the stair mass is pyramidal or circular in formation. If stone isused, a very good result is brought about through the use of carefully selected field stone or cobble. There are sheltering crevices in which to plant tiny roots which when grown add much to the general appearance of the whole. If the garden is a formal one, a design in which architectural features play an important part, one should take great care in the arrangement of this flight. There is nothing that gives such a delightful atmosphere as a well-planned stairway. It conveys a much better picture than does a vista of successive flights of steps that ascend to higher grounds.
The principal use for a feature such as this, is found to be in informal or unpretentious lay-outs, yet, fashioned in marble it is shown in the most elaborate Italian gardens found in this country. It takes on such a variety of forms and is available for so many purposes that it is fascinating to study where it will give best effects. Sometimes it helps out in the making of a garden pool. Here it is specially alluring, forming as it does, a step from one little world into another.
If you wish originality in your work, do not attempt to copy from the plans of others. Surely there is no lack of material from which to draw andthere is no reason why steps cannot be placed in any sort of a garden nook. The material depends on the style of garden, but wooden steps are not generally advisable on account of their rotting, which makes them need constant repair. It is far better to use stone, slabs of granite, concrete or marble, for each one of these has the lasting qualities that make them durable.
Measure the space carefully before the work is commenced. You should make allowances for crevices between each step so that suitable planting may be carried out. It is a very good idea to have the wide spreading plants placed near the bottom, graduating to those of more moderate growth at the top. Careful consideration should also be given to the right planting on either side. Low plants should border the step with a background of taller ones. They may, if you like, be used to express the idea of balusters on either side and are much more picturesque than real ones.
Do not forget that rich soil should be employed, for the plants need it to grow successfully. They require sustenance just as we need meat to feed our bodies. In many cases it can be rich loam taken from the woods, in other instances rottedmanure can be used for a foundation with a heavy soil covering. Great care should be taken to make proper planting, for delicate growth near hardy is disastrous, the stronger plants absorbing the strength of the weaker ones and doing permanent harm. Do not flatter yourself that once planted nature will do the rest. This part of the ground demands continual care, for weeds—plants' enemies—will intrude and must be carefully removed lest they feed upon the soil, taking away the richness and starving the plants. Water is a necessity, for plants like human beings grow thirsty all the more when exposed to the dry heat of the summer season. For best effects a sprinkler should be used and it should be borne in mind that the plants should be thoroughly soaked and not given merely a surface treatment. The importance of this cannot be over-estimated, or through lack of proper drink the plants will be in no condition to put out their full strength during their season of blossoming. Better results will be obtained if each fall before the winter sets in, they should be given a heavy top dressing of grit. There is nothing that plants enjoy as much as this and it provides them with strength during the next year's growth.
Concrete may not find favor with many garden lovers. It covers the surface so thoroughly that there is no place to introduce growth, but a little ingenuity and common sense removes this difficulty. Holes can be bored through the cement, and these should be large enough to allow the plants full scope to grow.
Many people for step planting prefer a succession of blossoming plants while others care for growth only. If the former plan is worked out, a charming early bloomer is the Alpine Anemone. Of these the Pulsatilla, or "Pasque Flower," is effective. It shows rich purple blossoms, which rising above the green leaves with their downy, feathery collarette of green, develop into handsome seed heads, which are decorative. They nestle into the crevices of the rocks, sending forth their exquisite blossoms nine inches in diameter during the months of April and May.
Variety is always delightful. For this decorative purpose why not use crocuses, "The Heralds of Spring." They thrive in any soil or situation, but in order to obtain the best growth, they should be planted in rich, deep, sandy loam. One of the choicest kinds is the Baron von Brunow.It is free flowering, putting forth large blossoms, dark blue in coloring. These can be mingled with a stripe variety such as La Majestueuse, which shows large, violet markings, exquisite in shading. The Giants, of which the Mont Blanc is a favorite, put out large, snow-white blossoms, forming an effective foil for the dark blue flowers of the other assortments.
In planting your steps do not forget to have plenty of bulbs introduced among the other plants. The graceful dwarf anemone seemingly fit into this early scheme, their delicate blossoms giving a touch of daintiness. For the best results these should be planted in the fall six inches apart and three inches in depth. Few bulbs exceed in loveliness the Blanda-Blue, Winter Wind Flower. This is matchless in coloring, originating in the hills of Greece, and has been naturalized in this country, where it takes kindly to the soil and produces flowers of charming hue. A feature of this special plant is that it blossoms during the winter months as well as the early spring. You make no mistake if you place it in every development of steps in your garden. It naturalizes best in grassy places in warm soil, and it can be distinguished byits round, bulb-like roots. Should you, however, wish to have more than one variety, why not try the Bride, that puts forth a single white flower, or the single Fugens, "Irish Anemone," which is semi-double, found in shades of scarlet, blue and purple.
MARBLE STEPS LEADING TO THE WATER IN A FORMAL GARDENMARBLE STEPS LEADING TO THE WATER IN A FORMAL GARDEN
Anyone can carry out their own idea as there are so many plants to draw from, each one of which is permissible for decorative effects. In our choosing let us not forget the Lily of the Valley. It is surely one of the most useful of our many spring flowers, pure white in coloring and delicately scented. For best development it should be planted in open ground, where it quickly spreads so that unless you wish masses of it, it will have to be separated almost every year. The Dutch Valley is an excellent kind to choose, as it sends forth so many flowering pits. This dainty little plant is a general favorite with everyone. Its sprays of drooping, white, wax-like, fragrant bells give a bit of color that is picturesque.
If you are looking for evening bloom there is the Ænothera or evening Primrose; this has the advantage of blooming all through the summer months. There are so many kinds, each one sobeautiful that it is a difficult matter to pick out the most decorative. Of these the Arendsii is very popular, showing, as it does, a profusion of lovely rose-colored flowers, and it is to be preferred to the Speciosa. Then there is the Pilgrimi with its glorious golden clusters that seem to light the garden during the twilight hour.
In your planting do not forget the Acre, or golden moss. This is a creeping variety and especially suitable for rock work. Its delicate growth makes it particularly appropriate for this use. The Vinca Minor can be mixed with this. This is evergreen, and excellent for covering or rockery, and can be combined with the Moss Pink, sometimes known as creeping phlox. This latter is in bloom in May or June. It shows broad sheets of rosy pink, white or lavender flowers, and an evergreen foliage. As it grows either in sun or shade, it is a very decorative plant to be used for step treatment.
For the border can be used as a setting low, old-fashioned, hardy perennials, which are particularly adapted for grouping. In their planting use good soil, let them be placed where there is a reasonable amount of sunshine, keep them free fromweeds and give them an occasional surface cultivation.
It is better to set these out in the fall, so that some of them will blossom during April and May. The late blossomers, however, can be saved until early spring, like Asters, and Heleniums. In making the selection, consideration should be given to those that grow in certain settings, as while some will flourish luxuriantly in ordinary garden loam, others are not dependable unless very rich soil is given to them.
For the outer border why not use hardy Candytuft (Iberis Sempervirens), which sends forth a profusion of white flowers in April or May, showing a spreading foliage that is evergreen and very attractive. With this can be grown the Rock Cress or Arabis Albida, which from April to June sends out sheets of pure white, fragrant flowers. Back of this one can plant the Fleur-de-lis. They should be given a sunny position in any kind of soil. As they come in all sorts of colors, there is no trouble in getting them to carry out the scheme that you have in hand. The Silver King, which is a silvery white with lavender shading, can be placed with the Florantina, which is light lavender, and thePallida Dalmatica, which is lavender bloom. If you wish to carry out this color scheme further, why not try the Purpurea, which with its rich, royal purple, will make during the season one of the handsomest displays possible for a setting to the low growth decoratively used in steps.
AN OLD-FASHIONED GARDEN IS OFTEN ENTERED UNDER AN ARCH OF LATTICEWORKAN OLD-FASHIONED GARDEN IS OFTEN ENTERED UNDER AN ARCH OF LATTICEWORK
We view our flower-plots at their best, gazing at them through the vine-clad entrance, as we glance down the gravel walk bordered on either side by masses of brilliant flowers. Involuntarily, our eyes wander along farther afield till we meet the background of trees clad in verdant foliage, a fitting setting for the picture laid out in patches of color, fitting into the canvas with a well-defined plan. We can but feel as we stand looking down on this paradise of flowers that we are thankful for the thought that first created gardens.
When they came into existence it is hard to determine, for mention is found of flowers and the traditions of wonderful gardens, laid out long before man had chiseled the hieroglyphics depicted on Egyptian tombs. The love of flowers is a heritage handed down from generation to generation.
Homer, when speaking of Laertes, trying in vainto find consolation in his flowers, while mourning the departure of Telemachus, goes on to show us that great men turn to gardens to heal sorrow. Philosophy was taught by Epicurus surrounded by his beloved pupils among the flowers.
From the early Greeks the Romans took their first lesson in floriculture. It was after their invasion of Brittany that they introduced certain flowers and fruits, like grapes, roses and violets, into English gardens. The art of gardening advanced steadily, reaching its zenith in good Queen Elizabeth's time, when there were in England many pleasing gardens, formal and stiff, to be sure, but a fit setting for the architecture of that day.
While the garden designs abounded in beautiful walks and flowers, yet the entrance to the grounds formed as it were the key-note to it all.
Has it ever occurred to you, as you stood hesitating at the portals of the gardens, that these were suggestive of some well-thought-out plan, as like grim sentinels they stand guarding the flower treasures? There is as much contrast in this part of the plan as there is in the design itself. Here we find a narrow, forbidding entrance, giving no glimpse of the flowers within; again we come to awide, welcoming one, beckoning, as it were, for us to pass through the portals and gaze with delight on the beauties hinted at beforehand and now disclosed to the eye.
For Colonial treatment there is nothing more dignified or stately than the square wooden posts, inclosing a locust inner one. They are built of white pine, one of the most lasting woods to be found in our country, and are Colonial or Georgian in design. Many of them are ornamental, topped with balls, urns, or torch devices and with elaborate hand-carving, so wonderful in its design that architects copy them in their modified Colonial houses of to-day. This was the work of one of the most noted wood-carvers in our country, Samuel McIntyre, whose name is a household word to architects and landscape designers all over the country.
There are two ways of treating the entrance. One of them is by adding an ornamental gate, corresponding in type with that of the posts. The other is to leave the posts gateless; while both are correct, yet the former way is more often used as it lends an air of privacy to the ground. It also helps out the effect planned by giving a touch of picturesquenessthat would be otherwise lacking. A much too common mistake is the introduction of Southern architecture into Northern gateways; the lines and details do not always conform with the type of the house.
Most of these gates are hung by iron or brass hinges, but the earliest ones use the strap hinge, which carries out the Colonial idea. The difficulty with the strap hinge is that it is not always strong enough to hold the gates without sagging, and the wider the entrance the heavier the strain. While the design varies, yet rarely do we find one constructed in the seventeenth century that is not simple and with picket effects. The pickets have pointed tops and are sometimes irregularly spaced, while the brace often shows an artistic curve.
Occasionally, we find the posts yoked, through a connecting arch. This is often latticed and if rightly designed adds to the ornamental effect. An old lantern is sometimes an attractive feature. The arch should be painted to match the color of the posts, a very good combination for this use is pure white lead, or zinc, combined with linseed oil. If you do not care to mix it yourself it can be bought ready for use. For the best effects, a thincoat should be used at first and it depends upon how easily it is covered as to how many coats to apply. If you wish to give a better finish, have an excess of turpentine over linseed oil in the last coat. There is more economy in covering it properly at first, as otherwise it will have to be re-painted each year.
With the evolution of garden culture has come a similar change in the design and material used to form our entrances. On the large estates of to-day, rarely if ever, do we find the ornamental Colonial. It would be as much out of place as if the mistress of the house affected silken brocades with wig and patches.
The white paling fence, unless for simple cottages, has entirely gone out of style and in its place we find cement walls. Often these are topped with a coping of limestone. The gate-posts, being formed over strong locust posts that have been driven firmly into the ground, are supported by brick or cement foundation.
Where the mansion shows in exterior brick, often with trimmings of limestone, the same idea is worked out in the wall. In cases like this an ornamental iron gate, hung on staples, supercedes thesimple Colonial ones of former days. Occasionally, the name of the estate is interwoven in the ornamentation, or sometimes it is carved on the stone entrance posts.
Natural material is coming more and more to be used and we find a rubble wall, constructed from stone and boulders picked up on the grounds, left often rough, and again filled in with red cement to make it more stable. The rubble wall is generally topped with cement laid perfectly flat. The entrance posts follow this same line of treatment and while they are often left hollow for several inches down, these are packed solidly inside with small rocks to keep them in place. The excavation is filled in with rich soil and bright blossoming plants introduced. This gives a bit of color scheme that is very effective as a foil for the cold gray of the stone. Vines are often planted at the foot of the posts, the turf being dug away for several inches, and rich loam introduced to better insure their growth. It depends entirely upon how heavy one wishes the covering to be as to the kind of vine planted. If it is the idea to hide it effectively from sight and produce massing of green, an entirely different planting should be made than if it wasintended to have a delicate coloring of green that would only enhance the color of the background.