H oiise and Garden 
and sometimes actual copies of famous places such as 
Lake Biwa or Matsushima, are made on a reduced 
scale. But when not a transcript of nature, the 
Japanese garden will always be carefully studied 
from it; as, for example, required by the rule that 
trees or plants, however desirable as ornaments, 
must not be used in locations at variance with their 
natural habits of growth; as well as by another in¬ 
exorable ruling that a garden lake must always show 
a logical reason for its presence, that both its source 
and outlet should be visible. Water lacking either 
of these essential features “is called dead water 
and is regarded with the professional contempt 
bestowed upon all shams and falsities in art.” The 
rocks and boulders are also far from resembling 
the rockeries and grottoes of Western gardens, 
being located and posed with utmost regard to veri¬ 
similitude to narure. 
The expression of sentiment and morality widely 
differentiates the Japanese garden from its Western 
rival, which confines itself to a purely esthetic 
purpose, though unable, of course, to exclude any 
personal interpretation which an observer may make. 
But the Japanese garden could be planned to accord 
with the sentiments of its owner; for example, to 
express the solitude and self-denial of the monk or the 
courage of the feudal knight. Or, again, the garden 
might suggest, by means of natural or historical asso¬ 
ciations, such sentiments as those of peace, prosperity, 
connubial felicity, and longevity. Many of the sub¬ 
jects familiar to us solely as Japanese art motives 
have also an inseparable symbolism in the land of 
their birth. Thus, the plum signifies the renewed 
vigor of old age; the lotus signifies purity, perfection, 
and peace; and Mount Fuji, the serenity of true 
greatness. Such a system, like every other, has the 
defects incidental to its virtues, which m this case 
are extravagance and arbitrariness. Wherever the 
proper associations failed, the composer must invent 
a code or leave the results to chance interpretation. 
It is pleasant to observe, m this general ethical con¬ 
nection, that Japanese writers decry the introduction 
Hil.s—i.Neir Mountain; 2, Companion Mountain; 3, Mountain Spur; 4, Near Hill; 5, Distant Peak. Trees i, Principal 
Tree; 2, Tree ot Setting Sun; 3, Tree of Solitude; 4, Cascade Screening I'ree. A, Casuga Lantern; B, Snow-scene Lantern; 
C, Wooden Ifridge. Stones- i, Guardian Stone; 2, Cliff Stone; 3, Worshiping Stone; 4, Perfect View Stone; 5, WOiting 
Stone (as Basin); 6, Moon Shadow Stone; 7, Cave Stone; 8, Seat of Honor Stone; 9, Pedestal Stone; 10, Bridge-edge 
Stone; ii, Distance Stone; 12, 13, Cascade Stones. 
4 
