414 



THE VILLA GARDENEK. 



44. Ranunculus aconitifblia and Calceo- 

 Ikria penduli flbra. 



285 



Beds from No. 45 to No. 48. 



45. A fuchsia in each bed, surrounded 

 with a circle of Eranthis hyemalis ; and, 

 nearer the margin, a circle of dwarf lark- 

 spurs; 0, patches of Anemone Pulsatilla, 

 A. apennina, and other species ; I, patches 

 of different varieties of martagon lUies ; 

 d, dahlias for summer and autumn bloom. 



49. Bulbous Iris and Agathae^a coelestis. 



50. Bulbous Iris, and Senfecio ^legans 

 fl. pi. 



51. Tigridia pavbnia, edged with Campa- 

 nula pumila. 



52. Gladiolus psittacinus, edged with 

 Campanula pumila. 



53. American plants, edged with double 

 primroses. 



54. The same as Ko. 53. 



55. Azalea coccinea, edged with Gaul- 

 theria procumbens. 



56. Azalea coccinea, edged with Gaulthfe- 

 ria Shallon. 



57. Khododendron ponticum, edged with 

 several varieties of Hehanthemum. 



58. Rhododendron ponticum, edged with 

 Erica herbacea. 



59 and 60. Tazza vases, which serve as 

 dropping fountains during winter, and in 

 the summer season with the jets, &c., of the 

 late Mr. Rowland. 



61. Seats. 



62. Sun-dial. 



63. Statues. 



64. Vases, which are all elevated on stone 

 plinths, proportionate to the size of the vase, 

 and are filled with flowering plants during 

 the summer season. 



286 



287 



479. Ornaments to flower-gardens. The features above enumerated may 

 be considered as the essential materials, or component parts, of a flower-gar- 

 den ; and to them may be superadded various ornaments, such as statues, 

 spars, and other objects of curiosity, natural or artificial; rustic baskets, 

 vases, or other contrivances for containing plants (see Jigs. 286. to 290) ; 



trelliswork, arcades for climb- 

 ers, open and covered seats, 

 summer-houses, and fountains, 

 aquariums, rockwork, root- 

 work, grottoes, and grotesque 

 objects ; and, lastly, a green- 

 house, conservatory, or some 

 other building for plants. Now, 

 these materials and ornaments 

 being given, the next point is 

 to lay down the principles for 

 using them in the composition 

 of a flower- garden. In this, 

 as in every other species of 

 design, the leading principle is 

 the formation of a whole. For 

 this purpose, there must be a 

 consistency in every part, with reference to culture, 

 and also with reference to lines and forms. One 

 style of form and line must pervade the entire garden. 

 In the simplest gardens, curved lines or straight lines, and acute angles or 

 right angles, may prevail both in the ground and ornaments ; but, in the 

 more artistical kinds, the beds and walks may display the scrollwork or the 

 embroidery of the French gardens. Whatever form or style is adopted as the 



