S F very special interest to all gardeners is the annual ex- 
hibition of the Architectural League of New York! 
First because the gardener belongs to the intelligent, 
beauty-loving portion of the public, alert for the fine 
| in its many forms; more particularly because gardening is not 
only an “allied art” but is architecture’s other (and possibly 
better) half in that entity “the home.” 
Mankind’s readiness to seize upon the evident has resulted in 
an over-stressing of the house. It is so necessary, so substantial, 
so durable, that the least imaginative mind easily grasps its im- 
portance in the scheme of living. The garden, on the other 
! hand, must be coaxed and cannot be hurried; it is elusive, fickle, 
i and fascinating; it has appeal only for the man of patience and 
: of constructive vision, hence has come to be regarded as an 
: adjunct to architecture rather than as its partner. 
Historically, of course, the garden (in the broadest sense of 
the term) came first — man set up a shelter for himself in the 
midst of growing things; actually architecture as a conscious, 
creative art antedates horticulture. However, the priority of 
the one or the other is of slight consequence; what now concerns 
us most is their fundamental relationship and interdepend- 
ence. 
This is convincingly exemplified by their almost hand-in-hand 
development: mansard roof and carpet-pattern flower bed were 
sloughed simultaneously and both arts have emerged from a 
period of stifling conventionality into a freedom based on verity; 
both have outlived the crassness of the “newly arrived” and are 
achieving the mellowness of the accepted. The deplorable is, 
of course, still often found, but after all it seems only fair to 
estimate house- and garden-building by what it is striding 
toward, not by what it is leaving behind. 
There is much to encourage — and to stimulate — the thought- 
ful gardener in the Thirty-sixth Exhibition of the Architectural 
League of New York open all through the month of April at the 
Metropolitan Museum. (Incidentally, one queries whether this 
hospitality may not indicate a lifting of the status, a welcoming 
of horticulture and architecture into the kinship of the Fine Arts.) 
The work of the landscapists is — to the visitor “gardenesque- 
ly” inclined — a primary interest, in volume and type reflecting 
credit upon the whole body of L. A.’s there represented. The 
“VIEW IN THE HEATHER GARDEN” 
Happy in conception and handling, this delightful piece of landscaping displays the 
possibilities of Heather, here in combination with Azalea, as a material for big uses. 
Estate at Oyster Bay, L. I., designed by Olmsted Brothers, (Brookline, Mass.) 
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