120 GARDENS: THEIR FORM AND DESIGN 



England we seldom come upon spirited, vivacious water 

 gardens. Neither do we find still pools of water, carefully 

 planned as regards their surroundings, their depth, their 

 colour beneath the water, the necessary height of the bank 

 above the edge, and the selection of foliage, trees, and 

 other objects which will give good colour-reflection. 



What is more familiar are large and somewhat evenly 

 shaped lakes, open expanses of water like the Serpentine, 

 which are enjoyable from a feeling of the fresh lung-filling 

 air that they bring to Londoners, but in no sense pic- 

 turesque as regards the light that plays upon them or the 

 shape or planting of their banks. Neither do we come 

 unexpectedly, in some grassy silent glade, upon a tall, 

 slender spray-fountain. This is perhaps the greatest joy 

 of all, when through an opening in the dark wood it 

 suddenly bursts upon us, the tall, graceful form seeming to 

 compete with high trees to see which will get nearest to 

 the sky. 



In our climate we do not need the plentiful supply of 

 these that is necessary in hot countries to cool the air. 

 But if placed sparingly in show places, somewhat distant 

 from the house, they would have a more beautiful effect 

 than anything else. Surely in private pleasure gardens 

 more study should be given to this great art, and the 

 designer should aim at more than a mere sheet of water 

 where boys can sail toy ships or a few rare water-lilies 

 are planted. 



A large field of delightful and comparatively unexplored 

 ground is open to the owner of large gardens and to 

 the garden designer of future times. The subject is a 

 complicated one, for it embraces a considerable knowledge 

 of perspective in connection with the angle of reflection. 

 Then, too, much in the way of experiment has still to be 

 made as to the colour of water, not merely derived from 

 proper shaping and planting of the banks, but also from 



