412 THE GAEDEN AND ITS DEVELOPMENT. 



not suffieientiv meet the want, and arrangements were made to warm 

 these houses artiticially. Of the Nuremberg Universit.v of Altorf it 

 was in 1656 espeeiall)^ mentioned that it possessed the first heated green- 

 house in German,Y, and this was also, as late as 1795, described as one 

 of the most complete in that country. 



While this introduction of foreign plants, in which all seafaring 

 nations of that time took part, completely changed the appearance of 

 the Italian garden in its Dutch form, there developed from it in France 

 a new specifically French style of gardening which took no notice at all 

 of this great increase in plant material. This style, created by Lenotre, 

 and excellently characteristic of the whole age of Louis XIV, is an 

 eminently architectural one, principally employing green tree masses 

 and thus dispensmg with the use of a diversity of materials. Its 

 method was essentially the vast enlargement of the always small and 

 decorative features of the Italian garden. The controlling motive 

 in this change was the desire to create about the buildings that consti- 

 tuted an ideal center for the entire plan, a large, free, open space. To 

 this was added the wish to have the indispensable perspective views 

 through the garden much more extensive. Being at a greater distance 

 from the house, a 6-foot inclosing hedge was no longer sufficient. 

 It was made higher and higher, and, as bushes were no longer large 

 enough for it, trees were taken, which were usually allowed to grow 

 to their natural height. As the tops of a single hie of trees seen 

 against the sky would look threadlike, it became necessary to plant 

 also the surrounding space with trees. The gai'den thus became a 

 wood through which narrow vistas were cut where desired. Its 

 peculiar characteristic was smoothh^ shorn walls, formed by clipped 

 trees, forming long corridors or spacious compartments. By this 

 method of treatment single plants were naturally completely subordi- 

 nated, the}^ being entirel}' absorbed in the work as a whole. The 

 precise geometric pattern of the garden also disappeared from view 

 between these high, well-shorn pieces of forest. For this reason the 

 rectangular regularit}^ of plan began to be disregarded, and through 

 the garden were cut oblique vistas, which, running between high tree 

 walls, were completely unexpected and therefore agreeable. To all 

 these vistas a significant termination was afforded b}' introducing the 

 richest sculpture, architecture, and water features, all being done, of 

 course, with the violent extravagance of the age of the "rr^/ ,sr>Av7." 

 The ornamental spring-like fountains of the Italian renaissance were 

 now transformed into walled-in, lake-like basins from which corre- 

 spondingly increased water jets were thrown aloft. In the basins and 

 before the green walls of foliage there reveled an entire Olympus in 

 marble, whose dimensions and impassioned bearing had to be increased 

 to colossal proportions in order to produce effect from a distance. 

 The green walls of foliage, at first shorn quite flat, were gradually 



