2 ALPINES AND BOG-PLANTS 
immensely to the height and dignity of the rock. In its 
face, to preserve and enhance the effect, you may insert 
Juniperus sanderiana, or lovely little Pinus sylvestris 
beuvronensis—a perfect Scotch fir in miniature, identical 
in form and grace with its giant prototype, and therefore, 
by its suggestion of being a great aged tree, making the 
rock to which it clings into a very Cheddar Cliff or E] 
Capitan. 
The great point to aim at is the preservation of scale. 
The view should be so arranged that these little shrubs 
cease utterly to seem little shrubs. And this is no preach- 
ment of unworthy pretentious artifice, it is the logical 
carrying out of the artistic principles upon which the 
Noble and Ancient Craft of the Rock-Garden is based. 
For, in the beginning, the Rock-Garden, springing, like 
all our noblest achievements in Art, Religion, and Philo- 
sophy, out of the East, was far more intimately allied 
with evergreen shrubs than with the ephemeral glory of 
flowers. A beautiful Mimésis of Nature was wanted, 
and, in the rocky glens that the garden set itself to follow, 
evergreens play a far greater and more permanent part 
than flowers. It is our risk that we have introduced a 
complicating note into the rock-garden by looking on it 
not only (and, I fear, subordinately) as a piece of mimic 
mountain-scape, but also as a territory designed and 
adapted for the growing of particular flowers. But the 
flowers are so beautiful that no real division of our 
allegiance may fairly be dreaded—so long as we remember 
that shrubs, together with rock, make the backbone, the 
salient note of the rock-garden, and that the placing of 
our shrubs is no less vital than the placing of our rocks. 
Let no one tell me I am preaching too high a gospel. 
If you are going to build a rock-garden, it is quite as 
easy and quite as satisfactory to build it right as to 
build it wrong. And the space at your disposal makes 
