8 THE BOOK OF TOPIARY 
of the Portico as opening on to a sort of Terrace 
‘‘embellished with various figures, and bounded with 
a Box Hedge, from which you descend by an easy 
slope, adorned with the representation of divers animals 
in Box, answering alternately to each other: this is 
surrounded by a walk enclosed with tonsile evergreens, 
shaped into a variety of forms. Behind it is the 
Gestatio, laid out in the form of a Circus, ornamented 
in the middle with Box, cut into numberless different 
figures, together with a plantation of shrubs prevented 
by the shears from running too high: the whole is fenced 
in by a Wall, covered with Box, rising in different 
ranges to the top.” After dealing with trees, roses, 
etc., he continues: ‘‘ Having passed through these 
winding alleys, you enter a straight walk, which breaks 
out into a variety of others divided off by Box hedges. 
In one place you have a little meadow ; in another the 
Box is cut into a thousand different forms ; sometimes 
into letters expressing the name of the master; some-. 
times that of the artificer; whilst here and there little 
Obelisks rise intermixed alternately with fruit trees, 
when on a sudden you are surprised with an imitation 
of the negligent beauties of rural Nature, in the centre 
of which lies a spot surrounded with a knot of dwarf 
Plane Trees.” 
It must not, however, be assumed that the Romans 
were entirely without appreciation of natural beauty and 
scenery. Far from it. But they loved lavish displays 
of art, and this also led them to use the gardens im- 
mediately surrounding their dwellings as a gallery in 
which to arrange their collections of sculptured trees. 
Roman poets and philosophers alike have left in their 
writings ample evidence that the beauties of nature 
were greatly admired by their countrymen, but at that 
period, when Rome was the mistress of the world, 
Italy was well supplied with natural sylvan scenery, and 
