THE JOYOUS ART OF GARDENING 



him. These things ought not so to be; yet unfortunately 

 they are; and they are of such frequent occurrence that a 

 pergola that is in perfect harmony with the house is rarer 

 than one that isn't. Yet it should not need much wisdom 

 to see that, if there is any architecture in the garden, it ought 

 to echo the architecture of the house. 



Another sin against the pergola lies in placing the un- 

 fortunate structure where it is absolutely futile and has no 

 reason whatever for its existence. William Morris's dictum 

 holds good in garden craft: there should be nothing beautiful 

 which is not useful. Now a pergola naturally is doubly use- 

 ful: it affords a support for vines, and it provides a pleasant 

 and shaded walk; it answers the purpose of the "pleached 

 alley" of the older gardens for the shade of which one has 

 to wait a number of years until its trees are grown. But the 

 first duty of a walk is to lead somewhere; also there is no 

 possible reason for the existence of a supporting structure 

 unless there is something for it to support. Yet for all this 

 it is not uncommon to see an unhappy pergola marooned in 

 the centre of a wide lawn with not even a vine wherewith to 

 bless itself. 



Aside from the misplacement — though that is the worst 

 sin — the pergola itseK is often faulty in construction. This 

 is a light error to that of being in a place where it has no right 

 to be at all. Proportion is, in its construction, of first impor- 

 tance; very often the pergola is altogether too narrow for its 

 height. Eight feet wide, eight feet high, and eight feet be- 

 tween the posts is a satisfactory distance in every way. 



Another cause of suffering to those who have to look at 

 it is the lack of overhead vines. It's well enough to have 

 crimson ramblers grow up the sides — if you like them, though 

 there are better roses — ^but, unless there are enough vines 



72 



