30 GARDENS: THEIR FORM AND DESIGN 



There are gardens in which we experience the same 

 tired feeling. This happens when, though much imagina- 

 tion has been employed, there has been a want of 

 dignified and measured transition between the surprises 

 that have been planned. In making them, the first 

 considerations should be the existing lie of the land and 

 how, with least alteration of natural features, secrecy and 

 mystery can be introduced. 



From some one central feature, such as a broad terrace 

 or a parterre, we should be led on, through tempting arch- 

 ways, berceau walks, to explore hidden treasure gardens 

 opening from it. There should be no hurry. Winding 

 walks, hedges, maybe a narrow shadow-garden of grass 

 and yew alone, free of flowers, would take us restfully 

 from one surprise garden to another. Unconsciously, 

 without a guide, curiosity would lead us on. With the 

 poet, we should go by "a shaded pathway, where my feet 

 bruised mint and fennel savouring, to a secluded lawn " ; 

 and then, through a thick hedge, and down a flight of 

 steps, come to what goes by the name of the " Sunk 

 Garden." 



The mere fact of its being below the level of other 

 ground, and enclosed, gives it an additional feeling of 

 secrecy. Therefore, in discoursing upon surprise gardens, 

 let us consider first that small secret enclosure which we 

 know so well in old illuminated missals. 



A dark oak doorway, handsome in ornament, leads 

 down stone steps to a square, very deeply sunk garden. 

 It appears, perhaps, doubly secretive and hidden, because 

 not only is there a red brick wall built all round, but on 

 the top of this wide wall, by means of a sunken earth bed 

 in the brickwork, is planted a neat evergreen hedge. 

 Behind this again, tall red rose-bushes clamber up and 

 hefp still further to screen the real garden. 



Close by the oak doorway, upon either side of it, and 



