INTRODUCTION xi 



beauties people expect to find in gardens. We know that 

 even Le Ndtre — that exceptional creative genius, who 

 possessed all that practical and artistic education could 

 give — was forced to supplement his own knowledge by 

 seeking the help of experts in many branches of his art. 



In England, therefore, we now require, besides the 

 man gardener, who is the grower and the routine worker, 

 the assistance of an educated artist-gardener, a master of 

 design. He and the architect who has built the house, 

 or advised about it, should work hand-in-hand, and confer 

 upon all points connected with the planning of line and 

 colour. But few architects have had any practical 

 training in garden craft, and they would welcome this 

 assistance. 



Many an amateur will hesitate at the thought of admit- 

 ting a further authority into the peaceful surroundings of 

 the garden. Ladies who own gardens will say : " The 

 great pleasure I have in my garden is now to be taken from 

 me, for I like to direct the gardener myself and to get 

 him to carry out all my ideas. It is unnecessary to have 

 another adviser." I have often listened to this kind of 

 argument, and have been secretly amused to hear my 

 friend asking advice from many amateurs as to the shape 

 of a pergola or the width of a path, in spite of her disincli- 

 nation to admit the professional authority. The differ- 

 ence, perhaps, is that she need take no steps to carry out 

 the amateur's suggestions, whereas, though the expert's 

 views would not always coincide with her own, yet she 

 might feel obliged to give them a trial. 



I feel sure, however, that those who have even stepped 

 over the borderland of inquiry into garden design, those 

 who know enough to realize their own ignorance, will 

 welcome the assistance and guidance of the trained 

 artist-gardener. They will find that the result of listening 

 to the views of an expert, even if they do not carry out 



