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The architectural features of the Olcott garden are one of its principal 
grounds. The interest of the whole is focused, as we have 
seen, in the central flower garden with its pool, and for this 
the choicest details are reserved. 
As one passes outward the intensely human interest de- 
creases until, at the outer portions of the whole, we find 
masses of trees and shrubs guarding the parts within. The 
house is most attractive and homelike in its suggestion and 
graces well the position it occupies. In the illustration on 
page 425 we see it from the lower end of the flower garden, 
a little to one side of the middle and looking up the left- 
hand path which borders the pool. This walk is bordered 
by a luxuriance of plant life. At the farther end of the 
path this wealth of floral growth becomes more restrained 
and formal as it approaches the house with its steps and 
walls and accompanying vases. The frontispiece presents 
another view of the house and its placement and shows even 
more plainly the delightful freedom in the planting of the 
borders. The pool, shown in the illustration on page 425, 
forms a strong contrast to the formality of the other end 
near the house, and serves to emphasize the charm of each 
by this contrast. ‘The playing fountain and the lychgates 
and pergolas of this garden keep before one the fact that 
it is intentionally planned for use and enjoyment. 
The tea-house is shown on this page at a nearer range, 
and the view of distant foliage which is caught through 
the pillars increases the effect of a happy seclusion. We 
are made but the more content with the quiet of the spot 
because of this view of the distance beyond, a glimpse of 
which can be caught between the columns, while the curving 
form given to the pergolas increases still further the effect 
of safety and repose. The contrast with the woody dis- 
tance is emphasized, too, by the introduction of formal 
AMERICAN HOMES AND 
December, Ig911 
GARDENS 
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charms, always appropriate in design never in the least obtrusive 
ornament, which takes the form of a large central marble 
bird-bath, set upon a circle of green, and by two large gar- 
den vases which stand at the top of the small flight of steps 
leading into the flower garden at a slightly lower level. 
These examples of man’s art, beside their direct decorative 
value, give one a fuller sense of the garden’s seclusion and 
of its having had all prepared carefully in advance. In this 
spot one could dream on indefinitely. Even the contempla- 
tion of a black and white representation of such a garden 
can touch the imagination, although color and air and sun- 
shine must be supplied mentally to the plan. How dear such 
a garden would become to those privileged to frequent it 
one may easily guess, and one feels assured that all petti- 
nesses, of whatever sort, must here, of necessity, fold their 
tent and depart silently, unable to remain in the atmosphere 
of such harmony. 
The garden-spirit belongs to no one land or time and the 
interest in gardens but grows instead of lessening as man 
becomes more intelligent and culture advances. They are 
in some sort a proof of widening mentality. The greatest 
infliction of loss and pain to the human race has been typi- 
fied to mankind in the losing of its Eden, its paradise, its 
garden. The ideal of all blessedness, on the other hand, 
has been presented, whether in religious figure or in poet’s 
dream, as in a marvelously beautiful garden. It has always 
been, and always must remain one of the brightest realities 
of life, and an appropriate setting to every poet’s dream. 
Innocent gaiety pictures itself to us in a garden; youthful 
love finds its fitting surroundings there, and for a peaceful 
era of contemplative happiness and the growing reticence 
of old age, we can think of no more suitable and Jovely a 
setting to the home we should love, than its garden. 
