i 7 4 OLD-FASHIONED GARDENING 
Nearly all his gardens are squares, with beds shaped 
to fit along walls and into the corners. This gives 
to many of them the L form, to some the T. He sug¬ 
gests the middle of one side of the flower garden as a 
suitable site for a summer-house, which shall serve also 
as a countinghouse for the garden’s wealth of precious 
bulbs when these are dug for storing. He insists upon 
a hotbed and a “Nurcery”—but does not say where 
they shall be put. 
Dutch influence was so strong in all garden design, 
in every part of the world, at this time, that there 
seems very little to say of the Dutch as a separate 
class of designers. Squares on squares, squares in 
squares, and squares ranged around a circle—these 
are the basis of the Dutch designs. Elongated some¬ 
times to an oblong form they are, when the circle is 
drawn out also into an oval; but curiously enough, 
this is done only on the vertical axis—on the straight¬ 
away from the view point—being intended to over¬ 
come perspective and create the illusion of a perfect 
square and circle! The foreshortening of a square 
narrows it of course to a seemingly oblong form, lying 
broadside to the observer. If the dimension which is 
thus seemingly diminished is actually lengthened just 
the right amount, the laws of perspective present it 
to the eye as equal to the actual length of the hori¬ 
zontal dimension; and thus the Dutchman’s beloved 
