House and Garden 
bears on high a bird house of hospitable 
proportions. The other lawn has a foun¬ 
tain as its center-piece. 
Land, whose turf is not too busily kept 
and shorn between the sparse fruit trees that 
gently shade it, stretches away from the gar¬ 
den on either side, so that the formal space 
we have been describing seems to lie like a 
band across the property. The transition 
between the two domains—the open lawn 
and the garden—is easy and natural, because 
the garden itself, though decisively marked, 
is almost as rural in character as its sur¬ 
roundings. Its grace is that of its own 
countryside heightened by sympathetic hu¬ 
man art. Its structure is that of Nature, to 
whom a way has been simply pointed out. 
Its ornament those near-at-hand objects, 
which are always more suitable than extraneous 
material borne in from afar under the banners 
of architectural device. Here it would seem 
that the partisans of formal gardening might 
find common ground with the champions of 
the informal, for here are none of those arti¬ 
ficial tour de forces of so-called garden art, 
“the adventures,’’ according to Walpole, 
“ ol too hard achievement for any common 
hands.” Not so has Nature been made to 
play the part against herself. At “ The 
Garth ” she has been courted rather than op¬ 
pressed, and her blessings have been turned 
to good ends, not outraged by too much 
architectural intrusion. In the peaceful 
lawns and the murmur of piquant flowers 
“Art in a garden” here finds a perfect ex¬ 
pression. 
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