256 
HOUSE AND GARDEN 
April, 1915 
The long path of the formal garden in phlox time, showing the relation between the two gardens and the 
transition from one to the other 
In early spring this effect is gained by the careful distribution of 
early flowers. Daffodils skirt the outer edge of the oval, scillas 
and snowdrops, primulas and fritillarias are planted between the 
stepping stones, early pink and rose tulips and Mertensias circum¬ 
scribe the circle with lavender Darwin tulips describing a wider 
circle around them. 
A little later in the season the effect of symmetry is continued 
by dividing equally between the four parts masses of iris and 
The house is in keeping with the quiet character of a New England street, overshadowed by old trees. 
the vine covered panels of the wall 
peonies, phlox and Japanese anemones, 
asters and chrysanthemums. Planted in 
strong masses they give body to the bor¬ 
ders. The monotony of absolute conformity 
is avoided, however, by subtle gradations 
of color made possible through the abun¬ 
dant use of many named varieties of each 
kind of plant. No exact symmetry is at¬ 
tempted in the placing of the many 
flowers, which, used in small quantities, 
fit in the borders to lighten the strong 
mass effect. 
Without spoiling the apparent balance 
of the whole, an attempt is made, at least 
during part of the flowering season, to 
gain an effect of greater height in the 
farther segments than in the parts nearer 
the house. This is done to grade the 
flower planting harmoniously into the 
high, sheltering background of old trees. 
For this purpose, heavier masses of taller 
and darker larkspurs are used in the 
farther parts of the garden than in the 
nearer ones. On either side of the short 
path, but only in the farther segments, 
Bossonia cordata, with plume-like termi¬ 
nal panicles of white flowers raised high 
above the heavy foliage of handsome, 
large-lobed, heart-shaped leaves, give a 
strikingly picturesque accent in height. 
In order to emphasize the short path, a balanced arrangement 
of flowers is quite rigidly adhered to in the borders on either side. 
Throughout its length English daisies and early tulips make a con¬ 
tinuous border in early spring, to be followed by forget-me-nots. 
In back of them is a row of salmon-pink sweet William ( Dian- 
thus barbatus var. Newport pink), whose June flowers are re¬ 
placed by the later bloom of heliotrope and pink stocks. The 
white and pink peonies in back of the 
sweet William in the nearer borders are 
replaced by the yellowish blush Pcconici 
Canari farther away. 
Where the circle breaks the path in two, 
groups of purple Japanese iris make an 
emphatic end to the borders; pyramidal 
foxgloves make tall June accents at the 
beginning of the path, and day lilies 
(Hemerocallis Hava and H. thunbergii, in- 
terplanted) terminate the other end. 
A balanced effect is also felt in the ar¬ 
rangement of the flowers on either side of 
the longer path. Bordered by alyssum 
saxatile and Arabis, Adonis and white 
wild geranium, Carpathian harebells, sta- 
tice and sedum, the edge is kept in con¬ 
tinuous bloom. The varying greens and 
gray greens of the foliage add a special 
interest to these compact, matlike ground 
covers. In back of this edging of dwarf 
flowers the irises, Queen of May, pallida 
and Purple King range from soft lilac 
pink, through blue to deep purple. 
At the circle the symmetry is most 
strictly carried out. This is done to focus 
all the attention upon this central point 
Note and bind together the many motives of 
the flower design. 
