8 THE BOOK OF GARDEN DESIGN 
successor, what do we find? That the greater part of 
what we have read is calculated to perplex rather than 
help, and in the end leave us no whit better able to form 
opinions as to the right and wrong way of setting about 
our own business. Putting aside all minor considera- 
tions, and looking at the matter in the broadest and 
simplest light, there are, and have been from time im- 
memorial, but two styles of garden design. On the one 
hand, we have the artificial, on the other, the natural. 
The first is generally the offspring of the professional 
designer, the paper planner, the lover of architectural 
features, the supporter of the makers of fountains, 
terracing and statuary. The second can in its truest 
form emanate only from the garden lover, the man who 
grows flowers and trees for the sake of their individual 
beauty, and strives with the materials which Nature 
lavishly supplies, to make a picturesque and beautiful 
enclosure near his dwelling. From this it must not be 
inferred that architectural adornments are wrong, or that 
a garden can be made in any situation without their aid. 
The contrary is the case. Ona sloping hillside, a garden 
may only be possible by the aid of terracing: an unin- 
teresting corner may be redeemed by a well-placed sun- 
dial or statue: a simple fountain, with the music of its 
falling water, may by its presence give pleasure during 
the long summer days. But in spite of all, architectural 
features must ever be the exception, not the rule, in the 
well ordered garden, and it is only when they are really 
needed to further our scheme of ‘‘ lawn and tree, flower 
and shrub deftly interwoven,” that there is the slightest 
excuse for introducing them. 
There can be nothing more distressing to the garden 
artist than the idea of making gardens to a stock plan. 
We are not dealing in wall-papers, ornamental tiles or 
mosaic work when we undertake the laying out of a 
garden; to this day there are many who think that the 
