garden. Such a separate rose garden will give complete satisfaction in its season; 

 and at other times, when admittedly in a transition stage, it will, being by itself, 

 break up no composition. Roses, unless they are of the climbing variety, produce 

 a far better effect, too, when seen from above or else banked up so that each bush 

 can be readily seen. They grow so tall that they lose much of their effect in a 

 mass. Other flowers which, like roses, grow so high that they might prevent 

 one walking through the paths from seeing their humbler brothers behind — 

 hollyhocks and sunflowers, for instance — should find their place beside the garden 

 wall, which, covered with vines or serving as a support for fruit trees en espalier, 

 will make an excellent background for the taller varieties. 



I should not be understood to imply, however, that the garden should only 

 make a color design in flat patterns; indeed, nothing is more monotonous than 

 the "carpet bedding" style, where plants are set out in formal patterns to remain, 

 with as few changes as possible, throughout the season. This fashion, in vogue 

 during the last century, finds its complete expression of bad taste in the attempts 

 one often sees to reproduce in private gardens certain emblems or pictures by 

 means of different colored plants. The habit of making intricate designs with 

 box edging, another relic of the labyrinthine and embroidery-like bedding of 

 two centuries ago, should also be avoided as belonging to the past. 



Paths have sufficient excuse for being if they wander in and out among the 

 flower beds, follow the line of a terrace, a balustrade, or lead to some flight of 

 steps. They may, following the inspiration of some vine-shaded terrace at Amalfi, 

 or some half-ruined arbor in an old Nantucket garden, be covered with trellis- 

 work, so as to form an arbor or pergola. 



The pergola may bound the garden on one side, or form a central motive in 

 the distance. In either case its lines should be carefully studied, for its size and 

 proportions may have much to do with the scale of the garden. The following 

 plates show how the pergola may be treated in many different ways. In fact, the 

 whole end of the garden may take the form of a pavilion or summer-house 

 combined with a pergola, as in the plan, shown on the following page, of the 

 garden at "Faulkner Farm," in Brookline, Mass. (See Plates cvi. to cxii.) This 

 garden, which prolongs the line of the house in an admirable way, forms, with its 

 flowers and basins, its terraces and walks, the pleasantest of out-of-door rooms. It 

 is so near the house that it requires no effort to reach it, and so surrounded that 

 the charm of seclusion is well preserved. 



The arbor, the pergola, and the summer-house have always been the prin- 

 cipal ornamental architectural features of the garden; but in using them in a 



