House and Garden 
stone seats, 
even the pan¬ 
eling of walls 
and the very 
mouldings 
thereon, all be¬ 
speak the Ren¬ 
aissance period, 
when Italy 
translated with 
characteristic 
refinement the 
earlier classic 
forms. The 
larger struc¬ 
tures of the 
garden also re¬ 
late to proto¬ 
types of that 
stage of archi- 
tecture ; the 
wall feature at 
the end of the 
“mall” recalls 
it, while from 
Florence “The 
Cupid Foun¬ 
tain,” now at the opposite end of the carpet 
or grass, perfectly assents to a style so nearly 
akin to its own. 
Only in the exuberant presence of flowers 
and the relation of the garden to the build¬ 
ings of the estate are the traditions of the 
historic garden of Italy departed from. But 
“Weld” is a garden only, and its designer 
had no need to weave an old house into his 
new fabric or to include in his scheme the 
entire extent of his client’s property. Such 
questions of broad landscape design as the dis- 
m embe r m e n t 
of land, the 
preservation of 
long views, the 
useofwoodland 
and the study 
of exposure, 
the peculiar 
situation of 
“Weld” re¬ 
duced to a min¬ 
imum. Such a 
geometric gar¬ 
den is a unit of 
itself, and being 
clearly out¬ 
lined, as it is, it 
requires no ties 
to link it with 
the external 
landscape. A 
studied transi¬ 
tion from the 
house is gained 
and proper ap¬ 
proaches to the 
garden fr o m 
the lawn. With these, consideration of all 
else outside the garden area could cease. 
And now strongly and well built it lies, a 
completed sum of all those elements that 
belong to a beauty which age cannot dimin¬ 
ish; by day, a smiling harmony of gray and 
delicate pink stone, silent beside tumultuous 
flowers ; by night, when the electric lights 
have been turned on under the pergola and 
elsewhere, a scene of indescribable mystery 
and charm,—bv whatever light, or hour, 01- 
season, Art’s success and its frank avowal. 
E. T. 
THE PERGOLA FROM W'lTHIN 
FROM WITHOUT THE PERGOLA 
