JULY 



IRISH GARDENING. 



lot 



methods of the oriental in gardening, as in most other 

 thing-s, are so very different from our own that before 

 we can rightly understand we must first of all get to 

 know the point of view of the people for whose pleasure 

 and delight the gardens are made. A Japanese 

 gardener is essentially an artist, and he approaches his 

 work in the true spirit of the artist. The garden is to 

 be <i miniature landscape, not necessarily a copy of any 

 existing landscape, but one fashioned according to the 

 conception of the creative genius of the workman. Like 

 Watt's masterpieces on canvas, the garden must be 

 symbolic, suggestive and beautiful, and every part of it, 

 even to the minutest detail, must be in harmony and 

 full of meaning to the user of the garden. And just as 

 Japanese pictures of plants and flowers are essentially- 

 different from pictures of the same subjects drawn by 

 western artists, so is the Japanese garden of delight 

 different from the European garden of pleasure. The 

 Japanese artist first studies nature deeply and 

 minutely, and then, being familiar with the essentials, 

 draws his plans from memory, and working upon its 

 broad outstanding and characteristic features neglects 

 the unessential details and produces an effect at once 

 simple, truthful and charming. 



In its broader aspects the garden is formed of hills 

 and valleys, with islands, lakes and streams often with 

 falling water in ihe |_form of cascades. There is a 

 central hill commanding the whole garden, and so 



designed as to give the suggestion of much space, and 

 carrying a resting place on its summit. The other hills 

 are placed in definite relation to this central one, and 

 from its summit a comprehensive view may be had of 

 the whole garden. The rock work of the garden is 

 designed with great care and nicety. There is first of 

 ail a central stone, massive in size, occupying the best 

 position. If there is a cascade it is placed beside it 

 with another rock smaller in size on the opposite side 

 leaning towards it across the water, then in different 

 spots are placed other stones bearing some relation as 

 to position and shape to the central stone of the garden. 

 These stones have each a special use or significance, 

 such as a stone for worship, a hollow stone for the wash- 

 ing of hands, a stone for the support of a lantern, stones 

 for fish to find shelter under, stepping stones, stones for 

 seats, a stone of the solitary hill, or a stone of the quiet 

 waters. The furnishing of the garden with trees and 

 other plants is also conducted on purely architectural 

 lines. As in the case of the hills and stones, so with the 

 trees. There is one master tree dominating the whole 

 scene. This is, as a rule, placed somewhere in line 

 between the chief hill and the central stone, and may 

 cither be a tall pine or broad-leafed tree, preferably we 

 believe an oak. And this large tree, usually a pine, 

 selected for its special beauty, is planted in the middle 

 of the garden, on an island by choice, so as to add 

 dignity and attractiveness to the miniature landscape. 



Photo by] 



Another View in the Japanese Gakde.n, Tlllv N'lksekies 



