82 GARDENS : THEIR FORM AND DESIGN 



criticisms, but we are prompted by a wish to see the 

 formal and informal not only harmoniously united, but 

 placed upon a higher and more thoughtful plane. 



We will consider, first, some of the most beautiful 

 treillage compositions that were to be seen before France 

 was played havoc with by the Great War. I allude to 

 the gardens surrounding Chantilly, that treasure-house of 

 pictures and gems. Here were to be found examples of 

 two kinds. The first, a perspective treillage, fixed to the 

 high walls of the Jeu de paume house, has in all prob- 

 ability acted as a model to any such work that has been 

 executed in England. In the Chantilly one there was no 

 idea of growing creepers up the treillage, for it was 

 merely an ornamental pattern of latticed woodwork, 

 painted dark green, and fixed against the wall to hide 

 dull brick and mortar. There are many gardens upon 

 the leads in London where the difficulty of obtaining a 

 sufficiency of earth in which to grow plants leaves high, 

 unsightly walls exposed to view, and this, then, is the 

 place for perspective treillage. The wooden lattice-work 

 usually represents a diminishing view of a garden-walk 

 or treillage gallery, and sometimes initials or emblems 

 only are worked into a design. Certainly it has the 

 effect of giving colour and interest where it is not 

 possible to grow creepers. 



Often in some very old country houses, built round a 

 square courtyard, which is entered by a porte cochtre, 

 such decoration would help considerably to take away 

 the dark, dull look that is the result of insufficient 

 sunshine penetrating to the court. 



This example is, however, not the best one of the 

 Chantilly treillage. 



In pre-War days, being upon a visit of exploration, 

 we wandered far amidst the lovely grounds before we 

 reached the lie d' Amour. The great castle, reflected in 



