ENTRANCES 15 



entrance. As the painter studies the old gold or the 

 dark wooden frame that will enhance the beauty of his 

 oil-colour painting without detracting from it by glitter 



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FIG. 14. 



or detail, so the garden designer has to consider the 

 supporting piers, the shape and colour of doors or iron 

 gateways, in order that when the herbaceous border 

 within is disclosed in all its 

 beauty of tall slender yellow 

 and pink hollyhock, yellow 

 achillea, and pale mallows, 

 the picture is made more 

 perfect by a proper and fit- 

 ting setting. Perhaps no FIG. 15. 

 entrance has approached the 



picture-frame idea more nearly than the modern example, 

 where a circular opening in a high wall leads from a quiet 

 reflective garden to one where there is a lovely wide 

 herbaceous border upon either side of the path. As we 

 look through the iron gateway a longing comes to 



