54 WALL AND WATER GARDENS 



it an object-lesson ; but the many evidences of good 

 gardening it displays seem an encouragement to the 

 making of friendly criticism. It is already so good 

 that it is tempting to contemplate how such a com- 

 bination of pleasant conditions could be made even 

 better or be differently treated. 



Where there is beautiful architectural proportion 

 and enriched detail, as in the example of the portion 

 of a fine old Tudor house shown in the illustration, 

 it is obvious that it would be most unwise to let it 

 be over-run with coarse or common creepers. In 

 this case there is evidence of watchful restraint ; the 

 climbing plants are just enough to clothe sufficiently, 

 while none of the beauty of the building is unduly 

 hidden. 



The whole question of the relation of vegetation to 

 architecture is a very large one, and to know what to 

 place where, and when to stop, and when to abstain 

 altogether, requires much knowledge on both sides. 

 The horticulturist generally errs in putting his plants 

 and shrubs and climbers everywhere, and in not even 

 discriminating between the relative fitness of any two 

 plants whose respective right use may be quite differ- 

 ent and perhaps even antagonistic. The architect, 

 on the other hand, is often wanting in sympathy with 

 beautiful vegetation. The truth appears to be that 

 for the best building and planting, where both these 

 crafts must meet and overlap and work together, the 

 architect and the gardener must have some knowledge 

 of each other's business, and each must regard with 



