September i8, 1889.] 



Garden and Forest. 



445 



GARDEN AND FOREST. 



PUBLISHED WEEKLY BY 



THE GARDEN AND FOREST PUBLISHING CO. 



Office : Tkibunk Building, New York. 



Conducted by Professor C. S. Sakgknt. 



ENTERED AS SECOND-CLASS MATTER AT THE POST OFFICE AT NEW YORK, N. Y. 



NEW YORK, WEDNESDAY, SEPTEMBER 18, 1889. 



TABLE OF CONTENTS. 



PAGE. 



Editorial : — The Landscape-Gardcner and the Arcliitcct 445 



Merchantable Timber in tlic United Slates 446 



Drives and Walks. II 446 



The Art of Gardening— An Historical SUctch. X. — Greece, 



Afrs. Schuyler van Rensselaer. 447 

 Notes ujjon Some North American Trees. — X. (Illustrated.), 



Professor C. S. Sargent. 447 



New or Little Known Plants :— Aster Liiidleyanus. (Illustrated.) 448 



t'oREiGN Correspondence: — The Linden for City Planting C. Bollc. 448 



Cultural Department; — Notes on Hypericums J. G. Jack, a,^^ 



Border Carnations IV. G. 451 



Notes on Wild Flowers F. H. Hors/ord. 452 



Autumn Work in the Flower-Garden E. O. Orpet. 452 



Roses and the Larvae of the June-bug W. H. Taplin. 453 



Orchid Culture, Past and Present Calypso. 453 



The Forest:— The Douglas Fir in Scotland 454 



Correspondence :— Storage Reservoirs for Irrigation G. F. W. 455 



Notes 456 



Illustrations : — Aster Lindleyanus. (Fig. 127.) 449 



Fra.\inus Greggii. (Fig. 128.) 451 



The Landscape-Gardener and the Architect. 



MONSIEUR Edouard Andre, one of the foremost land- 

 scape-gardeners in Europe, not long ago wrote 

 for the Revue Horiicok, of which he is joint editor 

 with Monsieur Carricre, an interesting article on " Orna- 

 mental Buildings for Parks." He seems to feel that the 

 English, with their love for the picturesque in archi- 

 tecture, have attained greater skill in this direction than 

 the French, who are closely wedded to monumental and 

 symmetrical forms of construction. The building in Sefton 

 Park, Liverpool, which is illustrated in the Revue, does not, 

 however, seem very excellent to American eyes ; and if it 

 is a fair representative of its class we may beheve that 

 foreign students could learn much by studying good ex- 

 amples of rural architecture in this country. But the 

 passages to which we invite special attention are those 

 in which M. Andre speaks in a general way of the relations of 

 the landscape-gardener to the architect. To arrive at the 

 perfect realization of those ideals which should guide in 

 the design of lodges, pavillions, bridges, kiosks, and other 

 buildings needed in a great park, it is needful, he says, that 

 the landscape-gardener should be informed with regard to 

 the principles of the art of building ; otherwise he will be 

 in a false situation and his influence will be null. He 

 then proceeds to say : 



" I know that here I touch upon a delicate point which has 

 often embarrassed my confreres as well as myself. It has often 

 happened — it happens constantly — that they find themselves 

 in rivalry with architects who are averse to considering the 

 designers of parks and gardens as true fellow-artists, or to treat 

 with them on conditions of amicable equality. . If the client, 

 confiding in the taste of the landscape-architect whom he em- 

 ploys, asks him to furnish the architect charged with the con- 

 struction of the dwelling with ideas relating to the acces- 

 sory constructions in the park, it happens very often that the 

 latter exhibits an evident, or dissimulated ill-will. Either he will 

 execute badly, if he has no talent, the projects of the landscape- 

 architect, or he will refuse to translate the ideas of another, 

 and will secretly recast these projects in order to impress 

 upon them his personal touch. What is the remedy for this ? 



Plainly to force respect and confidence by one's individual 

 merits. If landscape-gardeners prove themselves to be suffi- 

 ciently instructed in the art of building; enlightened by an 

 elevated artistic sentiment, the fruit of their studies, their 

 travels, and the comparisons and apjilications which tliey have 

 drawn from them; capable of defending their projects to 

 specialists, and aljle also to carry them well into execution, the 

 opinion of architects will change, and my fellow-workers will 

 advance in public esteem. I may add that our clients and their 

 parks and gardens will likewise profit through a more fitting 

 adaptation of ornamental details to the general effect by means 

 of works in which science and taste will everywhere appear 

 closely united." 



Now it is true that the landscape-gardener should know 

 something of architecture. Much of his work in connec- 

 tion with buildings is more closely related to architecture 

 than it is to gardening. But there certainly is an equal 

 necessity that the architect should acquaint himself with 

 the principles of designing gardens and with the landscape- 

 gardener's ideals, processes, and needs. In the discussion 

 which followed the address of Mr. Eliot before the Massa- 

 chusetts Horticultural Society, from which we quoted at 

 length a few weeks ago, one gentleman argued that the 

 proper way to secure unity in the "house-scene" is for 

 the same artist to design the house and lay out the grounds. 

 But this remark shows an imperfect appreciation of the 

 requirements of both the arts in question. We can con- 

 ceive it possible for the same person to be skilled in both, 

 but the genius and industry which would be required to 

 master and successfully practice two such complicated arts 

 will rarely be found. What is really demanded is a 

 hearty recognition of the importance of each of the two by 

 the masters of the other, and the development of a spirit 

 of brotherly concord, with an intelligent appreciation of 

 both on the part of the client. 



The architect, at least, should know enough of the scope 

 and purpose of landscape-gardening to know that he can 

 be materially aided by an artist trained to look at a build- 

 ing and its surroundings primarily from a different point 

 of view from his own. There need be none of the antag- 

 onism suggested by Monsieur Andre in an associated plan 

 of house and grounds. If a landscape-gardener first makes 

 his study of the ground and suggests the proper location 

 for the house, gives reasons why certain rooms should look 

 in a given direction, and explains why the main entrance 

 should be in a particular place, this need not limit or fet- 

 ter the architect, but rather furnishes him with a secure basis 

 upon which to make his own studies. In examples of actual 

 practice which have come within our knowledge the result 

 of such co-operation has not only been most successful as 

 a whole, but the architect has recognized the fact that he 

 has been aided to do more effective work in his special de- 

 partment. If either artist is consulted before the other, the 

 landscape-gardener has the prior claim, especially when the 

 grounds are of considerable size or when they are rugged 

 and broken, as they are apt to be in the suburbs of east- 

 ern cities after the smoother and more regular lots have 

 been occupied. We recall one instance where the approach- 

 road to a suburban villa was constructed before an archi- 

 tect was selected. But, of course, the preferable method 

 is to associate the landscape-gardener with the architect in 

 the preliminary studies, so that there will be no discord 

 between the designs of the dwelling and of its surroundings, 

 but a unity of purpose which will not only make the place 

 more attractive to the eye but more completely adapted to 

 the wants of its owner. 



It should be added that co-operation of this kind saves 

 expense. By this we mean more than is meant by the 

 mere statement that it pays as certainly to secure the 

 advice of a landscape-gardener as it does to employ an 

 architect. What a competent artist gives is always worth 

 more than it costs. But, besides this, there will be usually 

 found a direct saving in matters of construction — even in 

 details of the building, and especially the adjuncts of the 

 building. How much might have been saved is too often 

 measured by the costly work which needs to be done when 



