170 



The Garden Magazine, December, 1919 



IF MY garden is art, and art is an expression of self, then the 

 combinations of flowers, trees, grass, walks, seats, sky, and 

 sunshine must suggest universal truths passed through the 

 spectrum of my personality. Let us have in every garden 

 something of the seasons, the four quarters of the firmament, 

 the hours of the day, the circling of the shadows, the sweep 

 of the winds — or even local factors of legend, geology, or topog- 

 raphy, indicated by the plants as well as the garden arrange- 

 ment. We have a bit of this here and there at times, to 

 be sure, but why not more and in a more definite manner? 



Consider for a moment Japan. Here we find at once and 

 everywhere religious symbolism in the use of Pagoda-tree 

 and Ginko — the temple trees — likewise in certain plants 

 associated with certain priests or teachers. It is the same 

 idea as that of old Rome, though less elaborate. Further, the 

 Japanese planting always preserves beautiful harmony — a red- 

 leafed Maple being so placed as to be viewed in connection 

 with the sunset, a Willow hinting the presence of a stream. 



What beauty may be evolved for example when we learn 

 to use red-leaved plants by the sunset seat, broad-leaved 

 evergreens in the cool north corner, golden flowers in the 

 sunny southern quadrant, blue and white flowers in the shade, 

 hot red flowers for the sun's high-lights, white fragrant flowers 

 by the spot of evening contemplation, and so on. And re- 



viving the custom of the Dutch around Manhattan and up 

 the Hudson River, one great tree "near the door" dedicated 

 to the master of the household, or to some family event — 

 this to become as much a part of the home life, with seats 

 beneath its shade, as the dining table or the fireside. From 

 our long and varied list of plant materials we may surely 

 find forms that are suited for special uses too, even as the wind- 

 swept Pine suits Japan. A garden entrance might be distin- 

 guished with a pair of trees and shrubs of naturally columnar 

 form; the walk intersections by low rounded shrubbery; 

 exposed sites by low, irregular trees; sheltered hollows or 

 open plains with trees having marked horizontal branches; 

 running water with trees of drooping twigs or airy foliage; 

 and still, quiet pools with restful leafage. 



These are but a few typical examples of what we may do in 

 garden planting without violating good taste or the estab- 

 lished order of things. So new is this garden story notion 

 (or rather so old and long forgotten) that much of real and 

 perhaps helpful opposition will very possibly be encountered 

 — but it is a real part of the art of the garden and should be 

 reclaimed. So much is done in the garden for no reason 

 at all — or merely to make a floral or other display — that surely 

 a suggestion of reason and of things not visible on the surface 

 will be welcome. 



SWEET SOLACE FOR WEARY BODY AND MIND 



"Come ye yourselves apart, and rest awhile." How is the suggestion of friendly invitation extended — by the rampant abandon 

 of vine, or the mystery in obscure background, or the well rounded masses of herbaceous plants that seem like natural growth? 



^^■■H^K 



