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 delicately 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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