January, igio 
HOUSE AND GARDEN 
A long palm house outlines the southern border of the garden — 
a shelter of poles and bamboo 
A tea room is one of the features always associated with the 
Japanese garden of fair size 
fully the mystical charm of this type of gardening. The true 
Oriental gardener will tell his enthusiastic patrons that 
though modeled upon an actual landscape, the Japanese 
garden is far more than a mere naturalistic imitation. To the 
artist every natural view may be said to convey, in its varying 
aspects, some particular mental impression or mood, such as the 
impression of peacefulness, of wildness, of solitude, or of desolation ; 
and the Japanese gardener intends not only to represent in his 
model the features of the veritable landscape, but also to make it 
express, even more saliently than the original, a dominant senti¬ 
mental mood, so that it may become not only a picture but a 
poem. In other words, a Japanese garden of the best type is like 
any true work of art, the representation of nature as expressed 
through an individual artistic temperament. 
After consulting with various authorities on the subject, 
and interviewing the owners of some of the most famous American- 
Japanese gardens, 1 have found that the method of procedure is 
practically the same in every instance in Oriental garden building. 
The Japanese artist who is called upon to design a new garden will 
first examine the site, and will confer with his patron regarding 
its proposed size and character. If the site is large, and already 
furnished with natural hills, trees and water, the gardener will, of 
course, take advantage of these features. If it 
possesses none of them he will inquire the 
amount of money that can be placed at his 
disposal for the construction of artificial hills, 
lakes and the like; and this amount of money 
will also determine another important point, 
namely, the degree of elaboration with which the whole is to 
be treated. For all works of Japanese art whatsoever are rig¬ 
orously divided into three styles, the “rough style, ” the 
“finished style,” and the “intermediate style;” and the adoption 
of any one style governs the degree of elaboration to which any 
part of the design may be carried. If the rough style is chosen, 
even the smallest accessory detail—a rustic well or a stone lantern 
-—must be rude to harmonize; if the finished style, no detail that 
does not correspond can be admitted—a restriction greatly con¬ 
ducive to harmony, and one to which the almost invariable 
congruity and unity of Japanese composition is due. 
Knowing, then, the size and character of the site, and his 
patron’s wishes as to expense and elaboration, the landscape 
gardener will next choose the model landscape, or landscapes, 
upon which he is to base his design. He will find them divided by 
convention into three classes: those representing “hill gardens,” 
and “flat gardens” and a separate genus known as “tea gardens.” 
The hill garden class is the most elaborate, and that best 
adapted to large gardens, and for those where the natural site is 
undulating, or where money can be spent in artificial grading. 
The “hill garden” has many different species; such, for instance, 
as the “rocky-ocean style,” which represents in general an inlet 
of the sea surrounded by high cliffs, the shore 
spread with white sea sand, scattered with sea 
rocks and grown over with pine trees trained 
to look as if bent and distorted with the sea 
wind; or the “wide-river style,” showing a 
(Continued on page xii) 
The Jap loves a bridge almost above all things, and Stepping stones laid in designs com- The rustic railing is more American than Japanese, 
frequently will build an island for the sake of the bining beauty and utility mark serving as a harmonious connecting link between' 
bridge over which it is reached every real Japanese garden the design and its location 
