THE HISTORY OF GARDEN-MAKING 



the rules he laid down for the planning of both pleasure grounds 

 and herb gardens show how much importance he attached to careful 

 consideration of even the smaller details of the design. He divided 

 his space into squares, each of which was to be surrounded by a path 

 and subdivided into four quarters by other paths, and at the intersec- 

 tion of these paths there was to be placed a sundial, a pyramid, a 

 fountain, or some other architectural feature. If the squares could 

 be arranged on different levels, flights of steps, " staires of state," were 

 to be built connecting them. He retained the high wall, or quickset 

 hedge, as a surrounding to the entire garden, in this adhering to the 

 medieval fashion ; and he also retained that other mediaeval feature, 

 the knot or border planted with flowers in an elaborately formal 

 pattern. These knots were to occupy each of the subdivisions of 

 the square. 



Lawson, in the same way, advocated regularity, and his books, 

 "The Countrie Housewife's Garden " and "A New Orchard and 

 Garden," recognise formality as a matter of course. He, Joo, 

 directs that the garden should be a square enclosed within a wall, 

 and that it should be ornamented with knots ; and, like Markham, 

 he expects the same care to be bestowed upon the planning of the 

 part intended for use as upon that intended for show and enjoyment. 

 His idea of an orchard is a place with walks and seats, beds ot 

 flowers, clipped trees, mazes, and other ornamentations ; and the 

 kitchen garden is to be made gay with flowers — nature's charm is 

 not to be sacrificed for the sake of mere utilitarianism. 

 Indeed, the love of nature is very apparent in Lawson's way of 

 treating his subject ; he was an idealist, although the purpose of his 

 books was dehberately practical, and the garden he imagined was a 

 place where all the senses could be gratified. He expresses this 

 idea admirably in such words as these : — " What can your eye 

 desire to see, your eare to heare, your mouth to taste, or your 

 nose to smell, that is not to be had in an orchard with abundance 

 and beauty ? What more delightsome than an infinite varietie 

 of sweet-smelUng flowers ? decking with sundrye colours the 

 greene mantle of the earth, the universal mother of us all, so by 

 them bespotted, so dyed, that all the world cannot sample them, 

 and wherein it is more fit to admire the Dyer than imitate his 

 workmanship, colouring not only the earth but decking the ayre, 

 and sweetening every breath and spirit. 



" The rose red, damaske, velvet, and double, double province rose, 

 the sweet muske rose double and single, the double and single white 

 rose, the faire and sweet-scenting woodbind double and sinele ; 



Vlll 



