In the accompanying picture we see a corner of a mediaeval garden, hemmed round with castle wall. In it the artist has adapted an everyday scene to a religious purpose, by giving my lady a crown, and the baby an aureole, to suggest the Holy Mother and Child, whilst one of the gentlemen-in-waiting is provided with wings, so as to make him more in harmony with such saintly company. But this is only what might have been seen on any bright morning in late spring or summer, in some castle pleasaunce. My lady reads a book, whilst her maidens amuse themselves, one holding a psaltery on which the child tinkles, to its evident delight and wonderment; another, with a perverted sporting instinct, seems to be trying to catch fish with a ladle (note the usual little channelled way, on which a bird is perched, refreshing itself), whilst a third is picking fruit. The three squires are doubtless talking of the chase, for, in my lady's presence, love would hardly be their theme. And all around are beautiful flowers--roses, lilies, and irises. Over against the enclosing wall is the usual bank of earth, faced with wood to keep it the necessary height, and planted with many flowers. This raised portion enabled those in the garden to get a view over the surrounding country, and to have a point of outlook in case of attack. It also served as a seat; for at intervals, between the flowers and sweet-scented herbs, portions were covered with turf.

[Ill.u.s.tration: _Photo. Macbeth._

HARL. MS. 4425, BRIT. MUS.

_To face page 186._]

Of all the flowers in the garden the rose "red and pale" was the greatest favourite, and many different sorts were planted there. To so many purposes were they put, and so great was the demand for them, that large quant.i.ties of roses frequently served as the payment of va.s.sals to their lord. They were used for strewing the floor at the wedding-feast, or at the entertaining of some great baron. The fresh petals were sprinkled over the surface of the water in the bath, and were distilled to make the rose-water with which the knights and ladies washed their hands and faces when they left their much-curtained beds. Further, they were specially prized for garlands, the making of which was one of the favourite occupations of the ladies of the Middle Ages. Dante, who sums up the spirit of the Middle Ages from the simplest reality to the sublimest ideal, alludes to garlands and garland-making as amongst the joys of the Earthly Paradise. In his poet's vision of the pageant of the Church Militant he sees the last company wreathed with red roses, emblems to him of Charity or Love.

Boccaccio, in a more mundane atmosphere and a less august a.s.semblage, also introduces us to this mediaeval love of garlands. In a preamble to one of his tales he gives a dainty picture of the manners and pastimes of the gay folk of his day. Of the merry company, which his fancy makes to quit plague-stricken Florence for the country, where they tell stories to prevent monotony, he relates that, after dining in the cool shade, and before the story-telling begins, "the gentlemen walked with the ladies into a goodly garden, making chaplets and nosegays of divers flowers, and singing silently to themselves." Both s.e.xes wore them on festive occasions, and in summer young girls wore no head-covering save a garland. The knight at the tournament decked his helm with a chaplet of some chosen flower, deftly woven by the fair one in whose name he made venture; and many a merry company, wreathed with flowers or foliage, rode forth on May-day, with trumpets and flutes, to celebrate the festival.

Another favourite flower for garlands was the cornflower, as we learn from the poets, who tell of ladies dancing the carole (a popular dance in which all moved slowly round in a circle, singing at the same time), their heads crowned with garlands of cornflower. Violets and periwinkles, and meadow flowers, white, red, and blue, were also gathered to indulge this pretty fancy.

The gillyflower is another flower frequently mentioned. This name has been applied to various flowers, but originally it belonged to the carnation, and was used for such in Shakespeare's time. In the _Roman de la Rose_ it is called the gillyflower-clove, thus definitely defining it. One of its virtues, according to an old writer, was "to comfort the spirites by the sence of smelling," and also "to be of much use in ornament." But indeed most flowers were not only used for chaplets, and for strewing on the floor, but were also painted on the chamber walls, and embroidered on the hangings, to serve in winter days as sweet memories and as sweeter hopes.

Apparently the earliest records of gardens, after Roman times, date from the ninth century, and are mostly to be found amongst monastic archives. A garden was an important, and even essential, annex of a monastery, not only because of the "herbularis" or physic garden, from the herbs of which the monks compounded salves and potions for the wounded knight or the plundered wayfarer who might take shelter within its protecting walls, but also because of the solace which the shady trees and the gay flowers brought to the sick, for a monastery was generally a hospital as well. St. Bernard of Clairvaux, speaking of an abbey garden, gives a charming picture of one of these cloistered pleasaunces for the sick and the aged. He says:

Within the enclosure of this wall many and various trees, prolific in various fruits, const.i.tute an orchard resembling a wood, which, being near the cell of the sick, lightens the infirmities of the brethren with no moderate solace, while it affords a s.p.a.cious walking place to those who walk and a sweet place for reclining to those who are overheated. Where the orchard terminates the garden begins. Here also a beautiful spectacle is exhibited to the infirm brethren: while they sit upon the green margin of the huge basin, they see the little fishes playing under the water and representing a military encounter by swimming to meet each other.

This warlike note seems strange and almost discordant in the midst of the peace of the cloister; but many, before seeking shelter there, had been doughty knights, and St. Bernard, man of the world as he was, would realise that even this mimic warfare might bring diversion to their tranquil seclusion.

What a contrast to all this joy in the Middle Ages in gardens and flowers are the sober reflections of Marcus Aurelius! Philosopher as he was, he would have us learn from plants the lesson of cause and effect, the continuity of life. He says:

The destruction of one thing is the making of another; and that which subsists at present is, as it were, the seed of succession, which springs from it. But if you take seed in the common notion, and confine it to the field or the garden, you have a dull fancy.

It is with a sense of relief that we turn from the thoughts which a garden suggests to this stoic, to those not less profound, though perhaps more simple, of a Chinese writer of the fourth century:

Ah, how short a time it is that we are here! Why then not set our hearts at rest, ceasing to trouble whether we remain or go? What boots it to wear out the soul with anxious thoughts? Let me stroll through the bright hours as they pa.s.s in my garden among my flowers.