Design for a Gothic Flower -Gar den. 



525 



has so little of the idea of utility in it, as, on that account, to 

 be unsatisfactory ; though we readily allow that this practice 

 might be justified by what took place in former times, in those 

 gardens, strewed with sand, shells, broken glass, &c., which 

 Bacon ridicules, by saying, " You might see as good sights in 

 tarts." 



We mention these things, not only with a view to the im- 

 provement of the sender of the design, but for the instruction 

 of our young readers generally in this department of gardening. 

 If A. G. C. will try again, we have no doubt but he will be 

 able to send us something better. We recommend him, in the 

 mean time, to study the design which follows by Mr. Lamb, 

 and that which precedes his own by Mr. Varden. 



A design for a Gothic flower-garden, it appears to us, always 

 looks best, when the margins, instead of being of box, turf, or 

 other plants, are of brick or stone. This is beautifully shown 

 in the designs for the ancient flower-garden of Heidelberg, f^gs. 

 91. and 92.; and also In Jig. 89., which is a portion of the 

 design of our correspondent, arranged with stone borders, and 

 thrown into isometrical perspective. A glance at the plans for 

 the gardens at Heidelberg {fgs. 91. and 92.), which were laid 



out in 1619, by the celebrated architect and engineer, Solomon 

 Caus, will show how perfect they are as designs ; it being im- 

 possible to remove any one bed, and substitute another for it, 

 without totally deranging the symmetry of the figure. If we 

 imagine the trees represented in Jrg. 92. to be standard roses, 

 this design would form an excellent rosarium. — Co7id. 



