THE GARDENERS* CHRONICLE 



101 



Gardens so laid 



r^S^feware inclined to incur. 

 ,-itnhouldhave atleast tliree seasons, viz , »<™-"-~ — 

 S r of flowering things, to be succeeded by dwarf orna- 

 mental Plants ; then a spring season of bloom by means 



f Wbs K geometrical garden so managed has doubt- 

 ?~ a very Striking effect, but this can only be carried 

 Znt at CTt»t labour and much expense. I question, 

 k pver whether such collective masses ever impart 

 Z**L man of taste the enjoyment which a more varied 

 ^S secures. I snould therefore urge the occu- 



>r*of such gardens to employ a greater number of the 

 Hiffi«nt kinds of hardy flowering herbaceous plants, in 

 *Y ^t both in winter and summer the garden may 

 hTkept to a great extent continually gay. Such an 

 vrvJement will always present new charms, whereas 

 jkpfirst frosty morning sweeps off the entire beauty of 

 ceometrical massing, and leaves the whole a mournful 

 ^reck and such a display can only be reproduced after a 



lapse of many months. 



Bat the arrangement I am advocating has another re- 

 commendation, viz., it is by far the least expensive, both 

 to furnish and maintain. The former requires glass 

 frames or pits to protect the young stock lor the suc- 

 ceeding season, entailing continued covering and atten- 

 tion in securing the plants from the inclemency of the 

 weather throughout the whole winter and spring. No 

 such care or expense is necessary in the case of hardy 

 plants, and the immense variety of these which are 

 e«ily procurable, and which will stand ail weathers, 

 gives an opportunity for selection to suit all tastes and 

 situations. If these are planted with some regard to 

 their respective heights and time of flowering, 1 appre- 

 hend that no massing will give the proprietor of a small 

 residence a similar amount of pleasure. Pharo. 



for the introduction of 



it sufficiently open 

 wedge part of the scion ; and this should be done in 

 such a manner that the lil>er, or inner bark of the 

 stock may correspond as nearly as possible with that of 

 the scion. But as we cannot always judge when this is 

 exactly the case, it is better that the liber of the scion 

 should be slightly outside of that of the stock rather 

 than that it should be placed in contact with the young 

 wood. The graft being properly placed, we cover the 

 wound with a mixture of equal parts of fresh loam and 

 cow-dung ; but it is better to do over the parts with the 

 resinous composition adapted for covering the large 

 wounds of fruit trees and others.* This composition 

 ought to be applied more especially on the eye of the 

 scion next the top of the stock, in order to secure it 

 against insects and the bad weather which may super- 



o 



vene. 





Afterwards, there need not be any uneasiness on 

 account of this coating ; when the sap is put in motion, 

 the resin liquifies sufficiently for permitting the growing 

 shoot to pass freely through it. (What I have stated 

 concerning the appliances to this mode of grafting ought 

 to be rigorously observed as regards all the others 

 comprised in this paragraph.) Translated from the French 



of VAlbnL 



GARDEN SCULPTURE. 9 



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GRAFTING. 



No. VII Cleft Grafting (Par. 1st) ;witii one Scion, 

 and the Stock cut Sloping : fig. 6. (Greffe a un seul 

 rameau, dont une partit 

 du tujet est coupee en Fig. 6. 



biseau.)— M. Thouin has 

 named this in honour of 

 Bertemboise. It is one 

 of the most usual modes 

 of propagating 



woody plants. 



Operation. — The stock *" Y 1& A 



is prepared as indicated 

 by fig. 6. The lower part 

 of the scion, A, should be 

 made thin by slicing off 

 a portion from each side, 

 and forming a small 

 shoulder at the top of the 

 slope, as near as possible 

 to which there should 

 be an eye ; the side of 

 the scion on which the 

 bark is left should bo 

 broader and longer than 

 the opposite side, by one- 

 fourth, or frequently by 

 one-third, or more, ac- 

 cording as the stocks are 

 large or small. For the 1 

 latter, the inside of the 

 scion should be cut very 

 thin, with a short slope ; 

 and when intended for 

 large stocks, the same 

 side should be left fuller, 



so that the scions may better resist the pressure 

 to ' which they may be subjected when they are in- 

 troduced into the cleft. They usually leave two eyes to 

 the scion, but the second is often superfluous ; for the 

 one nearest the small shoulder has an immense advan- 

 tage in this respect, that when the scion is introduced, 

 as is represented at B, it is close to the top of the stock, 

 and as soon as it begins to grow, it forms a basis on the 

 latter, and thus co-operates in healing over the wound 

 of the stock. This position of the lower bud ought to 

 be attended to in all the modes of grafting described in 

 tliis section.* The scion, such as it is represented, 

 should be introduced in the cleft prepared as fol- 

 lows : — by means of a strong knife, or, preferably, 

 by a sort of cleaver and small bat.+ The first of 

 these, should be placed across the transverse section 

 of the stock, and driven into the latter in such a man- 

 ner as to split the bark before the wood ; and always 

 taking care that the cleft extend but little, if at all, to 

 the bark on the opposite side, at the lower part of the 

 slope ; and on the other side, where the scion is to be 

 inserted, it ought to be, at first, shorter than the wedge- 

 shaped portion of the graft. This being done, the 

 instrument is quickly raised by one or more 

 strokes of the small bat on its under side, thus 

 avoiding any kind of twisting ; then the wedge- 

 shaped beak, at the end of the handle of the cleaver, 

 is introduced slightly into the cleft, so as to keep 









Thouia 



as not sufficiently urged the import- 



ance ot this practice, and one of hit compilers has not even 

 mentioned it. M. Thouin only states that there are some per- 

 sons who place this eye in the cleft of the stock ; and he adds, 



71r!tlfl 90Ut tha * the u PP« r P* rt <> f the section of this stock 

 tn^£ f * 0Tered b J w ™aj layers, seeing that there is nothing 

 w attract the sap to that part, which consequently dries up, 

 •na torms an obnoxious stub in all the trees thus operated 



SEE* n Z % e l en « ce P tin J? the Vine, for which this mode of pro- 

 ceeding has been extolled. * 



* Li.JrJ! A . T u a • maU round ™>oden instrument, rt 



22?2^ le ? *%*• U is Uied to ,tHke downward! 

 o*c* of the knife, and upwards against its edge. 



(Extract* from a Letter to the Very Reverend Thomas Garniei* 

 D D. t &c., Ac, Dean of Winchester, and Rector of BUhopstoke, 

 Hants. By Frederick Tatham. London: W. H. Dalton, 

 28, Cockspur-street.) 



If there is one thing above another your excellent 

 taste may have recognised as incomplete and unpleasant, 

 it is that the basement of the good English country 

 gentleman's house, whose white crest you see from a 

 distance as you approach it 



'• Bosom'd high in tufted trees/ 



should at its basement be immediately overlapped, or 

 nearly so, by long Grass and the wild Briar. There is 

 evidently a principle, which will settle at once an 

 important point on landscape gardening ; that habitation 

 and order are unities. The gentleman beginning to 

 feel this, having perhaps, not long built his house, the 

 site being a hill rising in a wood, his progress is as 

 follows : — he extends his lawn, makes a parterre ; he 

 seeks for a high ridge for a terrace, which is a really 

 valuable ornament ; he sets to work to cut down 

 oppressive trees, and pushes the forest well back ; plants 

 small shrubs and evergreens, varied as much as 

 possible with other trees, to obtain diversity of foliage, 

 with choice hardy exotics of different shades of green 

 and shapes of growth, avoiding the old style of Portugal 

 Laurels planted in continuous rows ; his place looks 

 bare and flat at first, until Nature, with her waving 

 exuberant lines, and her horn filled with plenty, not 

 only follows him, but overwhelms him. He prunes 

 again — something however is even then wanting, he tries 

 a summer house and a conservatory — that does good ; 

 but they being the mere artificial and not art, he is 

 still unsatisfied. He sees a vase somewhere, and then 

 he doubts lest it should bring a cockney look to his 

 place ; he buys two, as an experiment, and, almost to 

 his surprise, they answer. The trees continue to grow, 

 the plot thickens, and everything becomes every year 

 more gorgeous. Much, it is evident, must now have 

 more, and works of art can only be the accumulate and 

 acme of such a state of things. The straight line 

 which stands for man's rule over Nature is wanting, 

 and that joined with the rotund form also, the straight 

 to act as a contrast, and the rotund to sympathise with 

 all around, he addresses himself to sculpture, with 

 joyful abandonment ; statues united with their inter- 

 lineal forms of pedestal, base, &c, are his alternative, 

 and his place now gives him ample delight — it is perfect : 

 he possesses the fairies to the " Midsummer Night's 

 Dream/' he has heightened things into persons, it is 

 now Paradise filled with its inhabitants. 



But the decoration of a garden or place in true and 

 perfect taste, is more fraught with difficulty, as you 

 well know, than would generally be supposed. The 

 expense of marble or Sicilian stone, and its getting 

 black in this climate, preclude the employment of great 

 marble sculptors, and they being educated in the 

 routine of monument work, are from habit and line of 

 study not entirely fitted for the fanciful and exuberant, 

 yet corrected and disciplined style requisite for garden 

 sculpture ; the consequence is, that when a gentleman 

 has conceived the idea to decorate his garden or 

 grounds, he can run only to a mason who, pressed by 

 demand, may have opened a trade in the cheap and 

 durable material of artificial stone (which, in passing, I 

 may observe is exceedingly appropriate to our use), and 

 jvho may possess a stock of statues and pateras, 

 some good, some moderate, and some very bad. 



The untutored mason has filled churches with painful 

 eye-sores and feeble timorous attempts at monumental 

 architecture. The mere mason may yet do the like for 

 garden sculpture. When the arts were led forward by 

 such great artists as Michael Angelo, Raphael, and Guilio 

 Romano, these men acted as great wheels, keeping in 

 order the smaller ones ; but in England, however perfect 

 the tram roads of social order may be, there is evidently 

 too great a distance between the professional man and 

 and the trader. Sir JefFery Wyattville, who was first 

 a builder, has left one of the finest works of architecture 

 in Europe, Windsor Castle ; he was the mature blending 

 of the practical with the inventive ; therefore, if it be 

 possible to enlist the able artist who, while practical and 

 constructive, has the variety an d beauty of Natu re 



* This consists of Burgundy pitch, four parts; black pitch, 

 yellow resin, and beeswax, of each one part. 



reflected into a large and many -sided imagination, 

 whose loves are with the very flutter of the foliage 

 which is to be the background of his design, and who 

 rejoices infinitely in the pellucid shadows of sun- light, 

 which are to establish his shapes ; that would be the 

 most probable way of obtaining a grand work, and then 

 of getting it rightly placed. The situation ought to 

 propose that which it should contain. The pier, 

 rise of ground, the recess, the umbrageous nook, or the 

 flat open space, should each be treated differently :— 

 what size and character the foliage, how large the limbs 

 of trees, whether the object is a fit one to be seen at a 

 distance, or whether come upon suddenly are all unities 

 and harmonies that would strike the mind as most 

 needful, and require knowledge and perception to 

 develope to the best advantage. 



The selection of any style should depend on the 

 principal mass, such as the architecture of the house, 

 and should either be in accordance or in judicious 

 contrast, both of which extremes come within the reach 

 of choice, as in music. The height and size are deter- 

 minable by the house, as you, Reverend Sir, have been 

 kind enough to inform me, and of which your own 

 beautiful place is an illustration ; where with so much 

 taste and skill, you have kept the elaborate embellish- 

 ment of your garden in complete subordination to the 

 simple and rural character of your parsonage. 



Now as regards the different styles ; the principal 

 and the most common is the Greek, where the external 

 line of all their great works, was to a vase or a patera, 

 what the outline is to the limb ; and it is quite evident, 

 that the derivation of all the beauty in their vases 

 (which from the Etruscan downwards, Btand as quite 

 up to concert pitch, and any work of art cannot be 

 more in the catalogue of the perfect) was the human 

 form ; the figure sculptors, taking no doubt the lead 

 over the Greek potteries upon the principle before 

 mentioned. The Greek, being continually able to study 

 the human form, every subordinate operation of the 

 artistic mind necessarily became exquisite. The Greek 

 style has however of late been much used and abused, 

 hpinir handled bv those who do not see its affinity to 



the figure. 



The Egyptian is ponderous and sublime, and when 

 kept away from figures, very grand and massive, but if 

 not used with great judgment, will look barbarous, and 

 bear from sympathy a sentiment of extreme severity 

 and even cruelty. The Roman being intermingled witn 

 the Greek generally, nothing need be said of it in this 

 brief sketch. The Gothic and Elizabethan do not apply 

 to figures, but in architecture they are wonderfully 

 harmonious with landscape. The French has with 

 great propriety been much used for gardens and all 

 ornamental work ; the serpent line, as Michael Angelo 

 called it, being the line expressive of life, fitted the 

 French style exceedingly well for out of doors, but the 

 French national tendency to abandon themselves reck- 

 lessly to the imaginative, rendered their style most 

 abundantly and luxuriously vicious, for which you have 

 only to look over the highly talented, but extreme 

 debi* ns and etchings of their great Le Pautre. 



Louis Quatorze took a first-rate thing in hand,] the 

 living line, and buried it under the heavy weight of 

 excess and overplus— but of such dead,— "nil nist 

 bonum" 



The rustic may in good hands be made the appro- 

 priation of all in one. It must be massive, for Nature 

 is so, it must be flowing, for Nature has life all through it f 

 it must be elegant, for she has that in all her ways, and 

 it must have the sign of rule, and order, for she loves to 

 be in subjection. The rustic thus combined and put 

 together, not treated as the expression of coarseness. 

 but interlined with the characters of tenderness, 

 elegance, and accumulativeness, is the complete thing 

 for out-of-door sculpture, and may, and ought to be 

 made the focus and acme of all the power, plenitude 

 and inexhaustible exuberance of all around it 



STYLE IN PLANTING. 



Everybody makes a great fuss about the ground 

 outline of new planting; but how few pay a proper re- 

 gard to sky outlines, or to the surface forma of the 

 glade, the vista, or the plantation. * With leaden eye 

 that loves the ground," said one of our British poets f 

 and the critique is, in many instances, richly deserved. 



When we cast our eyes through a beautiful vista, 

 and behold the elegant and feathery Betch, with its 

 leafy tracery, the delicate and pensile Birch, with its 

 nodding plumes, the Abies canadensis, or Hemlock 

 Spruce, with its rich and pendulous masses, waiting to 

 adorn a winter's sky, we have an idea of how much 

 lies in the planter's power ; whose business it is conti- 

 nually to take fresh lessons from the hand of Nature, 

 and to seize on and imitate beautiful combinations, 



wherever found. ^ 



Again, to observe the effect of massive flat-beaded 

 forms, as some Oaks, the formal Sycamore, and the 

 pointed forms of some Poplars, or the Larch, V^jp*& 

 forth here and there above and amongst them ; and the 

 whole lighted up, on some fine October morning, with 

 the gorgeous tints of the Liquidambar, the y** 10 ** 

 tinted Maples, and coloured Oaks, and even the . ow 

 Merry tree— their crimson glow enhanced by the um 

 yellow of such as the Chestnut and the Lime ; *? "» 

 here a scene which might teach the most »P*«JJ* f 

 lavish Nature has been in furnishing the mesM 

 gratification to the eye of man, whether m i°™» 



colour, or in both combined. ^^ should 



In adorning the banks of water what care an 



