WATER GARDENS, WATER-LILIES, AND 
LOTUS FLOWERS 
Recognizing in a Still Pool the Perfect Rest of a Complete Sentence, Water 
in Other Forms Becomes Comparable to Interrogation or Ejaculation 
I. THE INTIMATE GARDEN ASPECTS OF WATER 
GRACE TABOR 
OW EVER it may be handled, water introduces an effect 
ftjfra'l into the garden which cannot be obtained in any other 
I|KM way. It is indeed possible to change the entire mood 
cSUsfes of a composition by the manner in which this element is 
handled. For there are two distinct and opposing conceptions 
under which it may be presented; one animated and lively and 
filled with gaiety and activity, another subdued and placid and 
the very essence of repose. 
These two aspects of water are in violent opposition, and one 
must choose between them, as a matter of fact— or should do so. 
For they cannot be successfully combined in the garden except 
under certain very definite conditions. That they are very often 
so combined is no argument for the propriety of doing so, nor 
for the effectiveness of methods that ignore the subtleties of har- 
mony. Water in motion does violence to its own law; for water 
is by its very nature static. It seeks its “level” — which is rest. 
Hence nothing in the world is more agitated than the plunging 
cataract or the rushing, tumbling stream— just as nothing is 
more expressive of force irresistible than the spurting jet or 
playing fountain, though the latter indeed may be an expres- 
sion of contentment which the turbulent stream is not, 
since it merely dances at its level — its place of rest. 
Yet neither of these produces the serenity which 
is, in the last analysis, the very heart and soul of 
the kind of garden that we all crave and 
delight in. It is the pool alone that will do 
this. For the still pool is preeminently 
pensive and sets up, at the first glimpse of 
its shining surface, the mood of reverie. 
All its attributes and surroundings should 
therefore be pitched in this key, 
whether these are extremely simple 
and naturalistic or formal to a high 
degree; and attention should be di- 
rected to intensifying the reflective 
quiet of spirit which its still waters 
engender. 
On the other hand, always guard against a somber moodiness 
which will come of emphasis laid too exclusively upon this qual- 
ity — or of a somber character in the reflections which the waters 
catch. See to it that it is sunlight and not shadow which lies 
upon it; or in more definite terms, always locate an artificial 
pool in the open and never beneath the shade of trees. It may 
of course be perfectly all right to allow a small portion of its 
waters to catch an overhanging branch; but not more than a 
third of its surface ought ever to be in shadow, whether it is 
naturalistic or formal in character, and regardless of its size. 
W ITH the use of water as a garden feature thus divided 
according to the method of handling, it is to the pool 
that we are going to devote ourselves here, since it is the still 
pool alone that affords suitable conditions for the culture of 
flowers — and it is with flowers that we are most concerned in 
springtime. Another season will permit us to think about 
brooksides and streams, perhaps. 
Although still waters demand a measure of seclusion to com- 
plete the harmony of a composition, it does not follow that a 
great amount of space is necessary, either for the pool 
itself or for the surroundings which shall provide 
this. For, after all, it is the sense of seclusion 
and retirement that is wanted, rather than actual 
remoteness from everything. And a sense of 
seclusion may be accomplished in very limited 
space indeed, with proper handling. 
Whether it is a little formal basin in the 
midst of a tiny garden that you purpose 
to install therefore, or a pool of broad ex- 
panse, do not let interest in it distract 
you from the necessities of its surround- 
ings, nor beguile into the belief that 
the pool alone is enough. As with 
everything else in the garden, rich 
background is a prime essential. 
'The surrounding planting, moreover, 
