REVIVAL OF THE ART 
“There is a tendency to restore some of the screens which formed 
so characteristic a feature of the Dutch style, with a view to obtain 
a greater degree of privacy, and more shelter for both visitors and 
plants. With this restoration of sheltering hedges and verdant belts 
has evidently come a desire for examples of Topiary art, and already 
there are several modern gardens where they are to be found firmly 
established.” —George Gordon, V.M.H. 
‘Topiary Work fell into disrepute in the nineteenth century, 
owing to the persistence with which the more natural styles of 
gardening came to the front, but even now this phase of ‘ gardening’ 
exercises a considerable fascination upon a large section of the public; 
witness the interest excited of late years by the exhibits of trimmed 
trees which have appeared at the London shows.”——Walter P, Wright. 
NoTWITHSTANDING the wonderful alteration and im- 
provement that have taken place in British gardens 
since Kent began to make a clearance of Topiary work, 
several notable collections survived the general slaughter 
and these are to-day among the most interesting of 
the varied forms of gardening seen in the country. 
The gardens at Levens Hall and at Elvaston Castle may 
be especially particularised in this connection, but for 
the moment we will deal with the revival rather than 
the survival of the art. 
During the past twenty years the practice of 
including at least a few specimens of clipped trees in 
any new garden of pretensions has been steadily grow- 
ing, and within the last ten years several Topiary gardens 
of considerable extent have been laid out and planted. 
These are chiefly in the large establishments of the 
wealthy patrons of horticulture, and they are so situated 
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