PARK AND CEMETERY. 
from pillar to post 
in the books, to 
the confusion of 
botanists them- 
selves, and the ut- 
ter discourage- 
ment of everyone 
else. Proscrpinaca 
is the “mermaid 
reed,” Hippuns is 
the “mares tail.” 
Gunnera has 1 1 
speciesfrom South 
America, New Zea 
land, Australia Ja- 
va, and other Paci- 
fic islands. Some 
of them have im- 
mense saxifragous 
leaves, and differ- 
ent indeed to other 
plants of the tribe. 
G. Chilensis i n 
particular is pro- 
portionedin sizeto 
the Tiarella as the Victoria is to the Himalayan 
Nymphaea pygmrea (tetragona. ) Darwin measured a 
plant growing wild on sandstone cliffs at Chiloe, 
“with leaves nearly eight feet in diameter.” To give 
an idea of the plant, mount the Tiarella on a short 
rough often reclinate caudex; reduce the flower spike 
to a length shorter than the leaf-stalk, consolidate and 
make it dense with innumerable little reddish flowers 
and enlarge the leaves to thes'ze of those of the Vic- 
toria. Some of our florists are in hopes they can grow 
this species in 
western New 
York, but it is 
easy to be too 
optimistic with 
reference t o 
Pacific coast 
plants either 
northern or sou 
them. Howev- 
er, the plant is 
hardy in south- 
ern England— 
MYRIOPH YL.LU.M HETEROPHYLLUM. . , & 
with protec- 
tion, G. Magellanica if its name signifies should be 
still hardier, and no doubt several species will prove 
hardy on the Pacific coast. 
Myriophylluin is the “water milfoil” genus, Ca/li- 
tricke is the “water starvvort.” Some of these are very 
pretty in glass aquariums, etc. , but over running still 
water are apt to be nuisances. James MacPherson. 
1 09 
THE TWO FOUNDERS OF MODERN GARDENING, II. 
The transformation of the garden art from the 
architectural to the natural style did not, of course, 
take place in a day. Switzer, a practitioner in the 
formal style, first felt it, and among his tedious de- 
signs, attempted to unite his garden with the land- 
scape without. Walls and fences were to be re- 
moved, and woods and even corn-fields made to 
appear a part of the garden scene. Batty Langly, 
another practitioner, in 1728 belabored the “regular 
stiff and stuck-up manner in which many gardens 
yet appear,” and yet is proverbial for designing 
the very same features which caused it. Bacon 
with all his devotion to formal gardening had no 
love for the grotesque. “As for the making of 
knots and figures with divers-colored earths,” he 
says in his essay, Of Gardens, “They be but toys ; 
you may see as good sights many times in tarts. ” In 
the center of his ideal garden he imagined a heath, 
or desert, as he called it, which he wished to be 
framed as much as may be to a natural wildness.” 
The real beginnings came through pictorial and lit- 
erary art. First, certain landscape paintings of 
the Italian School, from the brush of Salvator 
Rosa, Titian and Claude, displayed the beauties of 
forest scenery. More important were the writings 
of the greater men in the realm of literature. Tasso 
and Milton have been considered as the heralds of 
this artistic movement. In the Garden of Armida 
of one, and in Paradise of the other are some of the 
most delightful combinations of natural beauty. 
Horace Walpole even refers the first ideas of mod- 
ern gardening to Milton. One might think so from 
some of his descriptions of Eden, as where he speaks 
of the crisped brooks which fed 
“Flowers worthy of Paradise which not nice art 
In beds and curious knots, but nature boon 
Poured forth profuse on hill and dale and plain.’’ 
Miltcn certainly had caught the feeling of nature 
but that he foresaw modern gardening is somewhat 
fanciful, for the ancients, too, had a love for nat- 
ural beauty, as is seen in Cicero’s description of 
his villa at Arpinum, and in that of Tacitus of the 
wild gardens of Nero. 
The real literary originators of modern garden- 
ing in Europe are Addison and Pope, since they 
not only admired and described picturesque scen- 
ery, but they imitated it. Addison, in 1712, 
brings forward in the Spectator the delights of 
nature in wild scenes, and with his refined taste 
enjoys their contemplation. He says, “There is 
something more bold and masterly in the rough, 
careless strokes of nature than in the nice touches 
and embellishments of art. We always find the poet 
in love with a country life, where nature appears in 
the greatest perfection, and furnishes out all those 
