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tinued and developed that artificial school of 

 planting which, first introduced in England 

 as early as the beginning of the sixteenth cen- 

 tury, reached its highest expression in the 

 Dutch garden, or, as it is now more commonly 

 termed, the " Italian garden." 



This style of treatment was not unsuited to 

 the straight lines and formal fafades of Inigo 

 Jones, Sir John Vanbrugh, and Sir Christopher 

 Wren, and within proper limits may even now 

 be justified, under strict canons of artistic 

 propriety, in serving, as it does, to break and 

 gradually to soften the outlines of the mansion, 

 and to form a connection with the irregular and 

 unstudied forms of meadow and forest beyond. 



In France as well, the dominance of the 

 courts of Louis Fourteenth and lyouis Fifteenth, 

 with their life of fashion and frivolity, had im- 

 pressed their tone upon the domestic life of 

 the nobility and gentry. The feudal castle 

 had given place to the classic villa and tem- 

 ple, and Mansard and L,e Notre had erected 

 palaces and established parks, which were 

 later to be the model and the despair of every 



