House C? Garden 
seen on either side of the house, with a few 
of the taller evergreens—hemlocks, spruces 
or white pines—breaking the sky line above 
the dwelling. 1'he background is not “for¬ 
mally” planted, but is massive, dense and 
Gothic in character. It consists chiefly of 
evergreens, with a small proportion of the 
larger and deciduous trees, such as the 
maple, the elm, the ash or oak, to effect a 
contrast of light and shadow and outline. 
The middle-distance—the second terrace — 
is composed entirely of deciduous trees of 
smaller dimensions and of a more dressy and 
elegant nature; it is lighter in tone and less 
massive and dense. The trees are formally 
arranged and in strict alignment with the 
lateral divisions of the terrace, there being 
no trees of any height in the central portion 
of this level. 
The foreground—the lowest level — is open 
and free, having no tall trees in its concerted 
plan; it is devoted to flowers and dwarf 
fruits, and is, consequently, as befits the needs 
of the picture, brighter and gayer in tone. To 
prevent the monotony of perfect symmetry 
in the descending heights of the terraces and 
their accompanying 
tree-heights, there are 
introduced here and 
there, and irregularly 
disposed, a few iso¬ 
lated groups of tall, 
slim cedars and pop¬ 
lars. These give the 
necessary effect of 
the picturesque, for 
be assured that if a 
formal garden is not 
picturesque, it will be 
monotonous, dull and 
lifeless. Each depart¬ 
ment or terrace of the 
garden should have 
(and will have, whether 
consciously so planned 
or not) an individual 
genius. Hence, in 
planning a garden, let 
each compartment 
have its particular 
genius allotted to it, 
and then enforced in 
every way possible. 
Thus will each terrace have its peculiar and 
contrasting interest, so that he who passes 
from one to another will not only find a 
refreshed interest, but if he be of sensitive 
nature, he will, cameleon-like, be effected by 
its “colour,” to borrow from Bacon. 
Let us now view in detail each terrace 
separately. First comes the level upon which 
the dwelling stands. We will designate it 
the “entrance hall ” of the garden, for does 
it not serve a corresponding duty to the 
entrance hall of the house? Neither are 
restricted to the seclusion of the family, 
both are open to the passage of friends, 
strangers and servants alike. Thev are 
respectively no more than the exit and 
entrance to the house and garden. Is not 
the entrance hall of the dwelling simple and 
dignified in character, studied and reserved 
in embellishment? And should not the 
“entrance hall ” of the garden be governed 
by the same principle? It should be but 
an uncovered extension of this part of the 
dwelling, in the same manner as the main 
external proportions of the dwelling deter¬ 
mine the subdivisions of this level. This 
portion of the garden 
is exposed to public 
view and is constantly 
traversed, and there¬ 
fore is never sought, 
as are the other com¬ 
partments, for pleas¬ 
ure orquiet recreation. 
H ence the congruity 
of the exclusive use 
of the finer evergreens 
—such solitaires as 
the Chinese arbor 
-vitae, the blue spruce, 
the Japanese holly, or 
the umbrella pine, the 
Biota orient alls, the 
rhododendrons and 
azalaeas—the latter to 
add a warmth and 
softness to the colder 
beauty of the larger 
plants. Such plants 
are constant in beauty, 
dignified in form and 
cleanly in character, 
and in every way more 
A TERRACED GARDEN 
Illustrating the divisions and levels of varying functions 
