Art Out-of -Doors 



in stiff fashionS;, but partly given up to more 

 naturalistic heaths " — the garden that Ba- 

 con described and that Evelyn loved. An 

 enclosed courtyard laid out with gravel and 

 beds of flowers, like the one at Charlecote 

 Hall; is formal, of course ; but so too are 

 the small Parisian ^ pleasure - grounds set 

 with French parterres, and so too was your 

 grandmother's garden in New England, with 

 its irregular masses of flowers, but its straight 

 walks and prim little edgings of box. Some 

 of these types are more formal, more archi- 

 tectural, than others, but in none of them 

 has Nature been dehcately humored; in all 

 of them a non-naturalistic ideal has been ex- 

 pressed by non-naturalistic methods of ar- 

 rangement. 



We can thus draw a line between the one 

 great gardening style and the other. But 

 we should feel that it is not a rigid line. 

 The borders of the two styles overlap, if 

 not as regards fundamental conceptions, yet 

 as regards details of execution. Nature 

 must be allowed her freedom to some ex- 

 tent, even where all the trees are clipped. 

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