House and Garden 
banks. Where every orher indication ot water fails, 
at least a well or a water-basin will supply or suggest 
that water which is inc.ispensahle to keeping a garden 
cool and refreshing; in the summer time. Occasion- 
^ O 
ally a lake is destined to represent the open sea; and 
m that case, islands, pebbly beach, and sea rocks sup¬ 
port the illusion. The stone lantern, the more moss- 
covered the better, is admitted as congruous with 
these natural elements; hut not, of course, a bronze 
west even more so, because the fierce glare of its low 
afternoon sun enters every opening. 
So much for the country which the Japanese land¬ 
scape garden must represent; hut now for its second 
characteristic in the method of the Japanese represen¬ 
tation, which is not one whit less distinct from our 
own than is the country. This method is seen also in 
the creations of the Japanese landscape painter, who 
declines such complete and precise realism as land- 
Stones I, Guardian Stone; 2, Seat of Honor Stone; 3, Moon Shadow Stone; 4, Worshiping Stone; 5, Stone of the Setting Sun; 
6, Stone of tlie Two Gods; 7, Pedestal Stone; 8, Label Stone. Trees — i, Principal Tree; 2, free of Evening Sun; 3, Tree 
of Solitude; 4, Stretching Pine. A, Stone I’agoda; B, Well; C, Water Basin; D, Stone Lantern; E, Garden Gate. 
lantern, except where the less consistent foreign resi¬ 
dent has installed one. 
Conformity of the house aspect to climatic condi¬ 
tions is an obvious economy, and in Japan this indi¬ 
cates an openness to the south or southeast with a 
shrubbery bank or lofty trees to the north and west. 
Summer breezes blow mostly from the southward, 
and the height of the sun when in this quarter pre¬ 
vents its glare from penetrating the eave-shaded 
chambers. The eastern aspect is second favorite, 
because it receives the mild and healthful morning 
sunshine. But the cold north is disliked, and the 
scape art has lately achieved in the West, in favor of a 
careful selection and modification of the material 
before him. The Japanese believes that by long and 
careful observation he has discovered the artistic 
tendencies of Nature’s operations, the essential traits 
of its products, and he has attempted to formulate 
these equally in his pictorial and gardening arts. 
Thus, practically every form and combination de¬ 
rived from natural life has been given an accepted 
rendering in the pervasive decorative arts of Japan, 
and this has become in turn the standard by which 
nature itself is viewed and judged. For example, the 
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