Garden Design and Architects' Gardens.

by W. Robinson.

PREFACE

That we might see, eyes were given us; and a tongue to tell accurately what we had got to see. It is the alpha and omega of all intellect that man has. No poetry, hardly even that of Goethe, is equal to the true image of reality--had one eyes to see that.--T. CARLYLE, _Letters to Varnhagen Von Ense_.

_The one English thing that has touched the heart of the world is the English garden. Proof of this we have in such n.o.ble gardens as the English park at Munich, the garden of the Emperor of Austria at Laxenberg, the Pet.i.t Trianon at Versailles, the parks formed of recent years round Paris, and many lovely gardens in Europe and America. The good sense of English writers and landscape gardeners refused to accept as right or reasonable the architect's garden, a thing set out as bricks and stones are, and the very trees of which were mutilated to meet his views as to "design" or rather to prove his not being able to see the simplest elements of design in landscape beauty or natural form. And some way or other they destroyed nearly all signs of it throughout our land._

_In every country where gardens are made we see the idea of the English garden gratefully accepted; and though there are as yet no effective means of teaching the true art of landscape gardening, we see many good results in Europe and America. No good means have ever been devised for the teaching of this delightful English art. Here and there a man of keen sympathy with Nature does good work, but often it is carried out by men trained for a very different life, as engineers in the great Paris parks, and in our own country by surveyors and others whose training often wholly unfits them for the study of the elements of beautiful landscape. Thus we do not often see good examples of picturesque garden and park design, while bad work is common.

Everywhere--unhappily, even in England, the home of landscape gardening--the too frequent presence of stupid work in landscape gardening offers some excuse for the two reactionary books which have lately appeared--books not worth notice for their own sake, as they contribute nothing to our knowledge of the beautiful art of gardening or garden design. But so many people suppose that artistic matters are mere questions of windy argument, that I think it well to show by English gardens and country seats of to-day that the many sweeping statements of their authors may be disproved by reference to actual things, to be seen by all who care for them. We live at a time when, through complexity of thought and speech, artistic questions have got into a maze of confusion. Even teachers by profession confuse themselves and their unfortunate pupils with vague and hyper-refined talk about art and "schools" and "styles," while all the time much worse work is done than in days when simpler, clearer views were held. To prove this there is the example of the great Master's work and the eternal laws of nature, on the study of which all serious art must be for ever based. Beneath all art there are laws, however subtle, that cannot be ignored without error and waste; and in garden design there are lessons innumerable both in wild and cultivated Nature which will guide us well if we seek to understand them simply._

_These books are made up in great part of quotations from old books on gardening--many of them written by men who knew books better than gardens. Where the authors touch the ground of actuality, they soon show little acquaintance with the subject; and, indeed, they see no design at all in landscape gardening and admit their ignorance of it. That men should write on things of which they have thought little is unhappily of frequent occurrence, but to find them openly avowing their ignorance of the art they presume to criticise is new._

_A word or two on the state of architecture itself may not be amiss.

From Gower Street to the new Law Courts our architecture does not seem to be in a much better state than landscape gardening is, according to the architects to whom we owe the "Formal Garden" and "Garden Craft"! It is William Morris--whose "design" these authors may respect--who calls London houses "mean and idiotic rabbit warrens:" so that there is plenty to do for ambitious young architects to set their own house in artistic order!_

_As regards "formal gardening," the state of some of the best old houses in England--Longleat, Compton-Wynyates, Brympton, and many others, where trees in formal lines, clipped or otherwise, are not seen in connection with the architecture--is proof against the need of the practice. As regards the best new houses, Clouds, so well built by Mr.

Philip Webb, is not any the worse for its picturesque surroundings, which do not meet the architect's senseless craving for "order and balance"; while Batsford, certainly one of the few really good new houses in England, is not disfigured by the fashions in formality the authors wish to see revived, and of which they give an absurd example in a cut of Badminton. There is, in short, ample proof, furnished both by the beautiful old houses of England and by those new ones that have any claim to dignity, that the system they seek to revive could only bring costly ugliness to our beautiful home-landscapes._

W. R.

July 1, 1892.

"The number of those who really think seriously before they begin to write is small; extremely few of them think about _the subject itself;_ the remainder think only about the books that have been written on it."--ARTHUR SCHOPENHAUER.

GARDEN DESIGN[1]

[1] _The Formal Garden in England._ By Reginald Blomfield and F. Inigo Thomas. London: Macmillan and Co.

A beautiful house in a fair landscape is the most delightful scene of the cultivated earth--all the more so if there be an artistic garden--the rarest thing to find! The union--a happy marriage it should be--between the house beautiful and the ground near it is worthy of more thought than it has had in the past, and the best ways of effecting that union artistically should interest men more and more as our cities grow larger and our lovely English landscape shrinks back from them. The views of old writers will help us little, for a wholly different state of things has arisen in these mechanical days. My own view is that we have never yet got from the garden, and, above all, the home landscape, half the beauty which we may get by abolishing the needless formality and geometry which disfigure so many gardens, both as regards plan and flower planting. Formality is often essential in the plan of a flower garden near a house--_never_ as regards the arrangements of its flowers or shrubs. To array these in lines or rings or patterns can only be ugly wherever done!

That men have never yet generally enjoyed the beauty that good garden design may give is clear from the fact that the painter is driven from the garden! The artist dislikes the common garden with its formality and bedding; he cannot help hating it! In a country place he will seek anything but the garden, but may, perhaps, be found near a wild Rose tossing over the pigsty. This dislike is natural and right, as from most flower gardens the possibility of any beautiful result is shut out! Yet the beautiful garden exists, and there are numbers of cottage gardens in Surrey or Kent that are as "paintable" as any bit of pure landscape!

[Ill.u.s.tration: _Rhianva. Terraced garden, but with picturesque planting and flower gardening_]

Why is the cottage garden often a picture, and the gentleman's garden near, wholly shut out of the realm of art, a thing which an artist cannot look at long? It is the absence of pretentious "plan" in the cottage garden which lets the flowers tell their tale direct; the simple walks going where they are wanted; flowers not set in patterns; the walls and porch alive with flowers. Can the gentleman's garden then, too, be a picture? Certainly; the greater the breadth and means the better the picture should be. But never if our formal "decorative" style of design is kept to. Reform must come by letting Nature take her just place in the garden.

[Ill.u.s.tration: _Group of trees on garden lawn at Golder's Hill, Hampstead; picturesque effect in suburban garden_]

NATURAL AND FALSE LINES

After we have settled the essential approaches, levels, and enclosures for shelter, privacy, or dividing lines around a house, the natural form or lines of the earth herself are in nearly all cases the best to follow, and in my work I face any labour to get the ground back into its natural level or fall where disfigured by ugly banks, lines, or angles.

In the true Italian garden on the hills we have to alter the natural line of the earth or "terrace" it, because we cannot otherwise cultivate the ground or move at ease upon it. Such steep ground exists in many countries, and where it does, a like plan must be followed. The strictly formal in such ground is as right in its way as the lawn in a garden in the Thames valley. But the lawn is the heart of the true English garden, and as essential as the terrace is to the gardens on the steep hills.

English lawns have too often been destroyed that "geometrical" gardens may be made where they are not only needless, but harmful both to the garden and home landscape. Sometimes on level ground the terrace walls cut off the view of the landscape from the house, and, on the other hand, the house from the landscape!

I hold that it is possible to get every charm of a garden and every use of a country-seat without sacrifice of the picturesque or beautiful; that there is no reason why, either in the working or design of gardens, there should be a single false line in them. By this I mean hard and ugly lines such as the earth never follows, as say, to mention a place known to many, the banks about the head of the lake in the Bois de Boulogne. These lines are seen in all bad landscape work, though with good workmen I find it is as easy to form true and artistic lines as false and ugly ones. Every landscape painter or observer of landscape will know what is meant here, though I fear it is far beyond the limits of the ideas of design held by the authors of the _Formal Garden_. Also, that every charm of the flower garden may be secured by avoiding wholly the knots and scrolls which make all the plants and flowers of a garden, all its joy and life, subordinate to the wretched conventional design in which they are "set out." The true way is the opposite. We should see the flowers and feel the beauty of plant forms, with only the simplest possible plans to ensure good working, to secure every sc.r.a.p of turf wanted for play or lawn, and for every enjoyment of a garden.

[Ill.u.s.tration: _Wakehurst. Elizabethan house with grounds not terraced_]

"UNCULTIVATED NATURE"

Such views I have urged, and carry them out when I can, in the hope of bringing gardening into a line with art, from which it is now so often divorced. It is natural that these views should meet with some opposition, and the consideration of the _Formal Garden_ gives the opportunity of examining their value.

The question, briefly stated, is this: Are we, in laying out our gardens, to ignore the house, and to reproduce uncultivated Nature to the best of our ability in the garden? Or are we to treat the house and garden as inseparable factors in one h.o.m.ogeneous whole, which are to co-operate for one premeditated result?

No sane person has ever proposed to ignore the house. So far from ignoring the house in my own work, where there is a beautiful house it tells me what to do! Unhappily, the house is often so bad that nothing can prevent its evil effect on the garden. "_Reproducing uncultivated Nature_" is no part of good gardening, as the whole reason of a flower garden is that it is a home for cultivated Nature. It is the special charm of the garden that we may have beautiful natural objects in their living beauty in it, but we cannot do this without care and culture to begin with! Whether it be Atlas Cedar or Eastern Cypress, Lily-tree or American Mountain Laurel, all must be cared for at first, and we must know their ways of life and growth if we are to treat them so that they will both grow well and be rightly placed--an essential point. And the more precious and rare they are the better the place they should have in the flower garden proper or pleasure ground,--places always the object of a certain essential amount of care even under the simplest and wisest plans. If we wish to encourage "uncultivated Nature" it must surely be a little further afield! A wretched flowerless pinched bedding plant and a great yellow climbing Tea Rose are both cultivated things, but what a vast difference in their beauty! There are many kinds of "cultivated Nature," and every degree of ugliness among them.

Sir C. Barry's idea was that the garden was gradually to become less and less formal till it melted away into the park. Compromises such as these, however, will be rejected by thoroughgoing adherents of the formal gardens who hold that the garden should be avowedly separated from the adjacent country by a clean boundary line, a good high wall for choice. (_The Formal Garden._)

Would any one put this high wall in front of Gilbert White's house at Selborne, or of Golder's Hill at Hampstead, or many English houses where the erection of a high wall would cut off the landscape? Not a word about the vast variety of such situations, each of which would require to be treated in a way quite different from the rest! There are many places in every county that would be robbed of their best charms by separating the garden from the adjacent country by a "good high wall."

[Ill.u.s.tration: _Gilbert White's house at Selborne. Example of many gardens with lawn coming to windows and flowers on its margin_]

The custom of planting avenues and cutting straight lines through the woods surrounding the house to radiate in all directions was a departure from that strictly logical system which separated the garden from the park, and left the latter to take care of itself, a system which frankly subordinated Nature to art within the garden wall, but in return gave Nature an absolutely free hand outside it. (_The Formal Garden._)

Nature an "_absolutely free hand_"! Imagine a great park or any part of an estate being left to Nature with an "absolutely free hand"! If it were, in a generation there would be very little to see but the edge of the wood. Callous to the beauty of English parks, he does not know that they are the object of much care, and he abuses all those who ever formed them, Brown, Repton, and the rest.

[Ill.u.s.tration: _Example of formal gardening, with clipped trees and clipped shrubs in costly tubs_]

THE TRUE LANDSCAPE

Mr. Blomfield writes nonsense, and then attributes it to me--

that is to say, we go to Claude, and having saturated our minds with his rocks and trees, we return to Nature and try to worry her into a resemblance to Claude.