Flowers 



121 



place; that buckles buckle something. Indeed by going back 

 to derivatives, the idea can be emphasized still more, for " buckle ' ' 

 comes from " bode, ' ' which is the boss at the center of the ancient 

 skin-covered, wicker- woven buckler or shield — the meeting and 

 gathering up of the wicker at the center being the reason for the 

 prominence. 



Here is exactly the demonstration of reasonable and proper use 

 that we need. Likening the flower bed to a jeweled buckle, it is 

 at once apparent that the places where it may suitably be located, 

 must be focusing points in the general design. They must be 

 centers; not necessarily in the midst or middle of the general 

 scheme, but points in the design to which the strong lines con- 

 verge, or from which paths branch. In such positions a flower 

 bed of simple form — circular or oval or conforming to the lines 

 which approach it — is in good taste. Elsewhere it is exactly 

 what an elaborate, jeweled buckle or pin is, when attached to a 

 gown in some utterly and obviously useless position — a gaucherie 

 of which one does not like to feel oneself capable. 



The beds which carry out the design of a formal garden are 

 of course exempt from this condemnation, having as they do, a 

 very real place in the design. These too, however, should be of 

 the simplest form and outline, and so arranged as to give the 

 relief already spoken of, which comes of suitable spacing. All 

 other flower beds fall under the ban. Let them be taboo to those 

 who want them — and who, for wanting them, deserve them. 



In every branch of landscape planting there is one question 

 that ever and ever again recurs; that question is, "Is there a 

 reason for doing this?" Not simply the personal reason of 

 like or disHke, but a real reason, based on logic and good sense 

 and utility ; this is the kind that must be advanced to gain the 

 approval of the highest standards. And this is the kind that may 



