NOTES ON THE ILLUSTRATIONS 



large lawn occupying the space generally assigned to a formal 

 garden. At the end of this lawn is a terrace wall with steps leading 

 to a garden on a lower level, and on either side it is bounded by 

 low hedges, beyond which are smaller lawns. The sunk garden is 

 similarly flanked by smaller enclosures, so that the whole of the 

 extensive area before the house is one wide expanse, the spaciousness 

 of which is not diminished by the rectangular subdivisions. That 

 this manner of laying out the ground gives importance to the house 

 itself can be readily conceded, but it is decidedly a departure from 

 the custom which prescribes elaboration of formal details near the 

 building and simplicity at a distance. Saighton Grange (Plates C. 

 to CII.) has a modern garden laid out by the head gardener, 

 Mr. England, in a skilful adaptation of the formal manner. Clipped 

 hedges have been freely used in the division of the grounds and by 

 their firmness of form they give a good deal of strength to the 

 design. The terrace walk on the south front illustrates charac- 

 teristically how hedges of this kind can be employed as part of an 

 architectural effect — to mark differences of level in the ground and 

 to create an impression of solid construction. In the rectangular 

 " Saints Garden " the area enclosed by the hedge is spaced out with 

 flower beds surrounded with paved walks which are boldly treated as 

 important facts in the plan. Another good paved walk is introduced 

 in the west garden, which is an example of the intentional careless- 

 ness affected not unwisely by the modern gardener who wishes to 

 simulate the picturesque untidiness of the old garden where the 

 luxuriant growth of flowers and plants has not been systematically 

 controlled. 



To students of exquisite craftsmanship the iron gates at Scraptoft 

 Hall (Plate CIV.) will seem of surpassing interest. According to 

 tradition these gates were brought from Hampton Court — they are 

 of exceptional beauty, though their charm is to some extent dimin- 

 ished by the commonplace character of the piers with which they 

 are associated. Artistic work of such value deserves a better setting. 

 At Shrubland Park (Plates CV. and CVI.) there is a garden which 

 claims indisputably to rank among the most spectacular examples of 

 sumptuous design that are to be found in England. The space 

 which this garden occupies is about sixty-five acres and it is filled 

 with an amazing gathering of architectural details which were de- 

 signed by Sir Charles Barry, the architect responsible for the whole 

 vast undertaking. The terraces with their great stairway leading 

 to the formal garden below are dominant features of the design ; and 

 the outlook from the top of this stairway over the fountain basin to 



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