148 GARDEN-CRAFT. 



esting objects by architectural adjuncts — broad 

 terraces, well-defined lines, even a range of sentinel 

 3'ews or dipt shrubs — things that are precise, grave, 

 calm, and monotonous. Where such things are 

 brought upon the scene, a certain spaciousness and 

 amplitude of effect ensues as a matter of course. 



One sees that the modern gardener, with his 

 augmented list of specimen-plants of varied foliage, 

 is far more apt to err in the direction of sensa- 

 tionalism than the gardener of old days who was 

 exempt from many of our temptations. Add to this 

 power of attaining sweetness and intricacy the 

 artist's prone aspirations to work up to his lights 

 and opportunities, and we have temptation which 

 is seductiveness itself! 



The garden at Highnam Court, dear to me for its 

 signs and memories of my late accomplished friend, 

 Mr T. Gambler Parr)-, is the perfectest modern 

 earden I have ever seen. But here, if there be a 

 fault, it is that Art has been allowed to blossom too 

 profusely. The attention of the visitor is never 

 allowed to drop, but is ever kept on the stretch. 

 You are throughout too much led by the master's 

 cunning hand. Every known bit of garden-artifice, 

 every white lie of Art, every known variety of choice 

 tree or shrub, or trick of garden-arrangement is set 

 forth there. But somehow each thing strikes you as 

 a little vainglorious — too sensible of its own impor- 

 tance. We go about in a sort of pre-Raphaelite 

 frame of mind, where each seemly and beauteous 

 feature has so much to say for itself that, in the 



