674 



GARDENESQUE STYLE OF FLOWER-GARDENS. 



§ 



-FOUNTAINS AND VASES. 



These are to be considered as part of 

 the decorations in this style ; and al- 

 though not so abundantly used, nor upon 

 a scale of such magnitude as in the geo- 

 metric, still their admission adds greatly 

 to the interest of the scene. In style they 

 may be less architectural ; but, on the 

 other hand, they should not be puerile or 

 childish. The ball balanced on a jet of 

 water — the metallic tree, from the leaves 

 of which drops of water are perpetually 

 oosing — the hidden springs and wires 

 placed under walks, which, when trodden 

 upon, deluge the unconscious passer-by 

 with a shower of water, are all equally con- 

 temptible, and unfitting for the present age. 

 The musical fountains described by a ro- 

 mantic traveller, as said to have existed in 

 the gardens of the ancient Moors, if the art 

 of constructing them were known, might 

 be admissible in this style, and so please 

 the senses both of hearing and seeing at 

 the same time. 



" Nothing, in my opinion," says the late 

 Sir Thomas Dick Lauder, " can be more 

 beautiful than a well-arranged fountain — ■ 

 nothing can produce a happier effect, in 

 what I would call the home garden, than 

 an architectural jet cTeau, the symmetry 

 of which, and the sparkling effects of its 

 ascending column, are calculated to har- 

 monise so well with the various features 

 of the house and its accompaniments. 

 Then what can be more soothing than 

 the gentle murmur of its falling waters, 

 heard only when everything else in nature 

 is silent, as if it were the voice of the 

 genii of the fairy ground in which it is 

 placed." 



The specimens of art exhibited in the 

 Industrial Palace presented many new 

 forms, suggesting to us new ideas. In 

 few departments in the Exhibition has 

 a greater number of subjects, which come 

 within the limits of garden decoration, 

 been presented to us than in that of 

 castings in iron and other metals, and 

 mouldings in clay of various descriptions. 

 Amongst the former of these, we may 

 rank fountains, one of which we have 

 chosen, as we believe it associates better 

 with natural landscape than many strictly 

 artistic subjects hitherto employed. We 

 think so, because in the composition the 

 objects represented belong to nature, and 



not to art ; and also because they are as- 

 sociated with water, amphibious animals, 

 and aquatic plants. The celebrated iron- 

 works of Mons. Andre, of Paris, furnished 

 the example ; and although its novelty 

 and want of precedent as a garden orna- 

 ment in this country may raise grave ob- 

 jections to it in the minds of some, still we 

 are of those who think that there is room 

 for vast improvement in such decorations, 

 and on such grounds introduce the an- 

 nexed fig. 927, to the notice of garden 

 artists, and to our readers in general. 



Fig. 927. 



The chief subject in the composition is a 

 crocodile holding a fish in his mouth ; 

 the mouth of which latter serves for the 

 top jet of the fountain. Beneath this is 

 an otter to the right, a tortoise to the 

 left, and a large frog at the third angle. 

 From the mouths of these animals the 

 jets of water are intended to rise, and 

 they are surrounded by the water lily, 

 floating reeds, and bending rushes. The 

 whole group should be placed on a rock 

 occupying the centre of a spacious metal- 

 lic basin. Such fountains are far more in 

 keeping with picturesque scenery than the 

 convolvulus, the jet balancing a ball, and 

 a variety of others, which are outrages 

 upon both nature and art. 



Vases and all sculptural ornaments 



