Art Out-of-Doors 
brightly colored they can hardly look crude 
or gaudy, for they are not set as spots on a 
carpet of vivid green. The neutral tones 
of the gravel and of the encircling walls 
must subdue the boldest floral notes, if they 
are rightly grouped, into a general harmony. 
But the closely clipped pattern - bed is 
not the artist’s only resource when a cer- 
tain measure of formality is required by the 
general character of a spot. There are 
other flower-beds which are formal yet not 
so conspicuously formal, and which are 
bright yet not so gaudily bright. 
Some of the smaller pleasure-grounds in 
Paris are symmetrically planned as a succes- 
sion of rectangular grass-plots divided by 
gravelled paths. No scattered beds or iso- 
lated plants break the repose of these formal 
little lawns, but they are encircled, near their 
edges, by long narrow beds planted with a 
great variety of hardy shrubs and flowers. 
The small spaces which surround the sides 
of the Louvre, at the end toward the church 
of Saint-Germain-1’ Auxerrois, are thus dis- 
posed ; so are many parts of the Luxembourg 
gardens, and of those attached to suburban 
