THE GARDEN AND ITS FURNITURE 
By Gilliam Field 
M UCH more goes to the making of a true garden 
than flowers, shrubs and pathways. Such a 
garden, set down in the midst of the fields, would 
appear desolate and incomplete, lacking boundary 
walls and trellises, fountains and shelters, seats 
for rest and 
contemplation, 
and even tables 
for our attendant 
creature com¬ 
forts. Especially 
is this true of the 
domestic garden, 
the jardin intime , 
the garden which 
lies next the house 
and forms a part 
of it, an outdoor 
living-room for 
fair weather and 
reflective moods. 
In the stately 
gardens of the 
Italian Renais¬ 
sance, as d’Este 
for fine example, 
in the charming 
domestic garden 
of the peristyle 
of the Vettii at 
Pompeii; in the 
fair Egyptian 
garden so quaintly 
pictured upon the 
tomb walls at 
Thebes, all 
these accessories 
give vitality and 
accent to the 
more natural 
components of 
the scene, and 
their use in all 
ages of garde n 
design shows the 
fundamental quality of their aid as giving definite¬ 
ness and completeness to the scheme. 
kor these accessories all materials have been em¬ 
ployed, according to the importance of the compo¬ 
sition or the fancy of the designer: marble, stone, 
brickwork, stucco, ironwork, or wood. Marble for 
the stately formal garden; brickwork or stucco for 
the more homely though not less dignified design; 
A SHELTER FOR THE SUSANNA FOUNTAIN 
metal work rarely, and to be used with best judg¬ 
ment under penalty of dire failure; but woodwork 
for the garden wholly of domestic and familiar 
aspect, though a material not incapable of main¬ 
taining itself with dignity in even larger or more 
strictly formal 
compositions. 
Woodwork 
painted white is 
the basis of the 
treatment shown 
in these charm¬ 
ing examples, for 
which we are in¬ 
debted to recent 
issues of Dckora- 
live Kunst-exam- 
ples having that 
air of freshness 
of conception so 
characteristic of 
the better phases 
of modern Ger¬ 
man design, dec¬ 
orative or other. 
Here is the shelter 
for a decorative 
fountain which, 
supporting the 
green shade of a 
vine punctuated 
with accents of 
purple flower, 
w o u 1 d a d d i m - 
mensely to the 
charm of the 
eff ect of the sculp¬ 
tural element of 
the composition. 
As a scenic 
background for a 
large public gar¬ 
den, the illustra¬ 
tion shown on 
page 182 is de¬ 
cidedly effective. Ibis was designed for use in 
connection with the Northwestern Germany Ex¬ 
hibition held in Oldenburg in 1905. 
The quasi-temporary character of the enterprise 
justified the use of the white woodwork and the form 
of trellises and shelters on so large a scale and these 
showed with excellent effect against the dark back¬ 
ground of the woods behind. The design and con- 
