HERBACEOUS BORDERS 27 



determined initiative of its own — for it does not 

 coincide with the line of hills beyond the valley, but, 

 instead, takes an opposite course — I never regret 

 its existence, in spite of a theory which is sometimes 

 quoted that the most prominent lines in a garden 

 should coincide with those of the distant landscape. 

 There is, however, an exception to this rule when, 

 as in this case, a distinct feature is at the end of 

 the vista. An ancient wooden bridge, such as 

 might occur in one of Morland's Sussex scenes, is 

 in the mid-distance and appears to be the objective 

 of the grass walk. All the other lines, the pergolas 

 and surprise gardens that are subordinate to the 

 chief feature, run parallel to the distant hills, and 

 thus correct any hint of unrest that the over- 

 scrupulous architectural designer might perceive. 

 One reason that makes me love the long flower 

 borders is that I can always see and admire them, 

 every passing shade of day or evening light. On 



boisterous, untempting day, the parlour window 

 suffices to show them to me, and unlike large, old- 



ishioned gardens that surround Queen Anne or 



reorgian houses, I have not to walk through an 

 icre of mown grass or shrubbery before I can pick 

 the flowers. For this reason there is additional 



iterest in the endeavour to obtain a good colour 

 scheme and a never-failing succession of flowers. 

 The two borders are very much raised towards 



le back and have the appearance of being high 



>anks of colour, so that, as you walk below along 

 grass path between them, the flowers are on a 



ivel with the eye and, in some cases, high above it. 



it the back they are outlined by a high wooden 



