HISTORY & DESCRIPTION OF STYLES 1? 



well as the form of the beds. By treating the 

 groundwork, grass or gravel, as the case may be, 

 as paths of uniform width running between the 

 flower beds a coherent effect is certain to be ob- 

 tained. The parterre designs with the initial letters 

 of these chapters are worked out on these lines. 



Rectangular corners are easier to keep than 

 acute angled ones, and also easier for the planting. 

 If the space calls for diagonal lines resulting in 

 thin corners, the latter should be cut off. The 

 same applies to a combination of curves and 

 straight lines : they should be adjusted so as to 

 cut off at least i ft. from where the angle would 

 be. This enables plants to be brought to the limit 

 of the soil without overhanging the surrounding 

 grass. 



The utmost precision in laying out and upkeep 

 is essential to the beauty of formal gardening. To 

 begin with, the ground must be level, or at least a 

 uniform gradient. On undulating ground a de- 

 sign appears distorted. It is avowedly an artifi- 

 cial style, and Nature must not be allowed 

 to have the upper hand. Some people have 

 the greatest objection to what they term the 

 " barbarous " custom of clipping yews and other 

 shrubs, though they see no harm in cutting grass 

 or hedgerows. This is not the place to argue one 

 way or another, but I would point out to garden 

 designers that there are many trees growing 

 naturally in stiff shapes ; and standards can 



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